Tag Archives: k. michael russell

Review: Infinite Dark #1

The universe ended, but onboard the void station Orpheus, a skeleton crew of humanity survived: the last two thousand souls, waiting for a second big bang that may never come. Now, two years into their voyage, Security Director Deva Karrell investigates the station’s first murder-and the otherworldly motives behind it.

Humanity surviving some calamity on a spaceship/station is a story that is a dime a dozen. There being a murder on a spaceship/station is a common story too. However, the location being a space station that has survived the end of the universe? That’s pretty unique.

Writer Ryan Cady delivers a first issue that builds up the tension to a point the story shifts. What begins as a sci-fi story becomes horror by the end. Much of the first issue focuses on the reality these survivors live in. They’re the last of humanity. They witnessed the rest die. And they witnessed the universe die. Now, they’re surrounded by nothing and internally are struggling with that reality. They are experiencing survivor’s guilt.

Now, a crime has been committed and that leads to that twist. While the comic could easily devolve into a person who has lost their mind and that spreading across the ship resulting in carnage and death, it would seem we’re getting something different. That last panel especially left me pondering where this is all going.

The art by Andrea Muti with color by K. Michael Russell and lettering by Troy Peteri is solid mixing in the two genres quite well. There’s an unease in the art that emphasizes the coldness of it all. That’s helped by the color which uses lots of cold blues and grays and only goes elsewhere for emphasis.

The issue is a fantastic debut that blends genres and delivers an ending that’s something that’s unexpected. It seems the comic is going in directions that’s unexpected and will explore some really interesting topics. With a unique setting, this is a start that’s a hell of a debut.

Story: Ryan Cady Art: Andrea Muti
Color: K. Michael Russell Letterer: Troy Peteri of A Larger World
Story Editor: Alex Lu
Story: 8.25 Art: 8.25 Overall: 8.25 Recommendation: Buy

Image Comics provided Graphic Policy with a FREE copy for review

Preview: Infinite Dark #1

Infinite Dark #1

(W) Ryan Cady (A/CA) Andrea Mutti (C) K. Michael Russell (L) Troy Peteri

The universe ended, but onboard the void station Orpheus, a skeleton crew of humanity survived: the last two thousand souls, waiting for a second big bang that may never come. Now, two years into their voyage, Security Director Deva Karrell investigates the station’s first murder-and the otherworldly motives behind it.

Science Fiction and Horror Collide in Infinite Dark

Image Comics and Top Cow have announced an all-new, sinister ongoing science-fiction series—Infinite Dark—by Ryan Cady and Andrea Mutti with colorist K. Michael Russell that will hit stores this October.

In Infinite Dark, the universe has ended, but humanity has survived. For years, the passengers and crew of the vessel Orpheus found the endless void between realities to be a surprisingly peaceful home.

Then they found a body—bloodied, brutalized, and surrounded by inscrutable runes. As Security Director Deva Karrell investigates the Orpheus’ first murder, she’ll come face to face with a horror from beyond the confines of time itself…

Infinite Dark #1 will launch from Top Cow and Image Comics this October 2018.

Cassie’s back in the gory, sexy, twisted, funny Hack/Slash: Resurrection, Vol. 1

Cassie Hack returns in Tim Seeley’s Hack/Slash: Resurrection, Vol. 1 with Tini Howard as the new series writer along with artists Celor and K. Michael Russell. The trade paperback collects issues #1-6 and hits stores this April.

In Hack/Slash: Resurrection, Vol. 1, Cassie Hack has been living off the grid, but when a new monstrous threat arises to torment the kids at Camp Indigo River, it’s time for Cassie to pick up the baseball bat once again.

Hack/Slash: Resurrection, Vol. 1 (Diamond Code FEB180576, ISBN: 978-1-5343-0666-0) will hit comic shops on Wednesday, April 25th and bookstores on Tuesday, May 1st.

Preview: Postal: Laura

POSTAL: LAURA

Story: Bryan Hill
Art: Isaac Goodhart
Color Art: K. Michael Russell
Letter Art: Troy Peteri
Cover: Raffaele Ienco

Laura has spent her life protecting her town, the criminals within it, and her son’s future. Now her son might choose to leave her behind to start a new life away from her. Laura Shiffron punishes those who want to abandon her rules—with death—but will she apply the same brutal ideology to her own son?

Review: The Eighth Seal and Glitterbomb #1

glitterbomb_01-1Earlier this summer I read James Tynion and Jeremy Rock’s The Eighth Seal, released in July by IDW Publishing. I enjoyed it but passed on reviewing because I didn’t have much to say on it at the time. Yet I recently read Image Comic’s new release Glitterbomb, by Jim Zub, and found enough common threads between them that I decided to revisit. Both center on female characters in visible professions where they are subjected to scrutiny and criticism; both women are slowly gaining awareness of dark forces within them, and both begin by diving right into the action.

We meet Farrah, the aging, down-on-her-luck actress at the forefront of Glitterbomb, as she is being grilled by an agent who can’t find an angle that makes her sellable. He is less than tactful in expressing this concern, and by the second page his head is being violently penetrated by a stinger-tipped tongue that has thrust forth from Farrah’s mouth and into his. As it retracts we see her features transform from black-eyed and split-lipped back to the Jane Average from page 1. “Oh God… It happened. AGAIN.” From there the issue takes us back through the last six hours of Farrah’s life. She encounters a manipulative, platitude-spewing competitor at an audition, returns to her anxiety-inducing homelife as a frazzled single mother, and reveals to the readers what, exactly, happened along the way to warrant her saying “AGAIN.”

EighthSeal_TPB-CoverEighth Seal’s headliner, First Lady Amelia Greene, begins her story at her therapist’s office, where she is prompted to share the details of “another incident.” She tells him of a vision she experienced, in which storytime with a local kindergarten class descended into feeding time for a six-eyed, tentacled monstrosity that burst through her human shell. The arc of this collection follows Amelia as her visions become increasingly common and invasive, drawing intense media scrutiny over her regular fainting spells and strange behavior. We receive a few hints at the nature of the monster that’s haunting her, but I found myself feeling less satisfied by the end than I did with Glitterbomb. Seal, at 122 pages, is the first TPB of five and takes its time developing, whereas Glitterbomb manages to set an equally satisfying amount of world-building into motion in a premiere issue of 40 pages.

Both monsters offer satisfying displays of body horror, but I personally prefer the more simple design of Glitterbomb’s baddie. Whereas the creature Amelia sees herself as is more aesthetically violent, and her position as first lady makes the scale of potential destruction more global, I like the restrained design of Farrah’s possessor better. (It also makes for a nice visual vaginal metaphor in the spirit of Predator, or the facehuggers of Alien.) A key difference is that Amelia’s alter-ego presents itself to her internally, at least at this point in the series. The physical transformation always comes in the form of a vision that manifests itself in the real world as a blackout period. Farrah, however, experiences her physical change live and in-person.

Jeremy Rock’s linework in Seal is very rounded and clean, a look that I usually associate with cartoons that are kid friendly. I don’t think that was an active intention in designing the content, but it did make the content that much more effectively unsettling. Glitterbomb, illustrated by Djibril Morrissett-Phan, is slightly more gritty in its look. The aesthetic differences here are pretty fitting; Amelia is a public political figure with a refined reputation to uphold, and Farrah is an out of work actress going through rough times.

The coloring work is excellent in both. While they each utilize similar palettes, Nolan Woodard and Michael Spicer bring deeper saturation and more lighting effects to Seal while K. Michael Russell’s work on Glitterbomb has more texture to it. Despite both being digital review copies, Glitterbomb still looked like a paper comic compared to Seal. Comparing them side-by-side made me think of the difference between film and video.

Overall I enjoyed both quite a bit, but it took a second reading of Eighth Seal to appreciative it, and there could have been more of a payoff by the end of the first volume. Both titles left me wanting more, but I predict (and hope) Glitterbomb will deliver more swiftly.

The Eighth Seal TPB

Story: James T. Tynion IV Art: Jeremy Rock
Story: 6 Art: 7 Overall: 7 Recommendation: Read

 

Glitterbomb #1

Story: Jim Zub Art: Djibril Morrissett-Phan
Story: 7.5 Art: 9 Overall: 8 Recommendation: Buy

Review: Eden’s Fall #1

Edens-Fall-1

Who are we kidding? Crossovers, by and large, always suck. The yearly JLA/JSA team-ups of days gone by may have been fun, but the early ’80s ushered in the era of the “mega-crossover” event with Marvel’s Secret Wars and DC’s Crisis On Infinite Earths, and while those two seminal series may have had their charms, pretty much everything that’s followed in their wake has been pure drivel. It’s well past time, in my own humble opinion, for the crossover to redeem itself.

Don’t count on it happening at the “Big Two” anytime too soon, though. Marvel’s allowing its entire line to be swallowed whole by Civil War II as we speak (mere months after doing the same with their re-tooled version of Secret Wars) and DC seems to be slowly building up to a “blockbuster” of their own that will feature their characters taking on the so-called “Watchmen Universe.” Count me as being decidedly unimpressed — and deathly uninterested — in any of that. So, if anybody’s gonna give us a crossover worth reading, it’ll have to be one of the indies.

Enter Top Cow Productions, who have a corporate “universe” of their own (published, as always, under the auspices of their partnership with Image Comics) centered around WitchbladeCyber Force, and other franchises, but are eschewing the obvious (perhaps too obvious?) possibilities there and are instead tying together three of the ostensibly “real-world”- set series from the mind of writer Matt Hawkins — PostalThink Tank, and The Tithe — for a mercifully brief three-part series titled Eden’s Fall that, at least if the first issue is any indication, promises to actually make good use of the characters and concepts from all three titles in order to tell a satisfying, self-contained story.

EdensFall-01_wrap-cvrB-350x271

Hawkins is sharing the scripting duties on this one (which, for the record, I purchased, although an advance digital “copy” was also made available to Graphic Policy for review purposes) with frequent collaborator Bryan Edward Hill (who’s handling the writing chores on Postal solo these days — and doing a bang-up job of it), so characterization for all parties involved is as spot-on as you’d expect, and Atilio Rojo is on board to illustrate the proceedings in a no-frills, workmanlike fashion that serves the story quite well and is somewhat reminiscent of 1980s indie comics artwork (which I don’t mean as a “knock” in any way because I love that era). Toss in some competent if less-than-flashy color work from K. Michael Russell and what you have here is a book that both looks and reads quite well without being overtly stylish on any front, and I’ll take that any and every time.

Newbies to the “Hawkins-verse” needn’t worry, either — any backstory you need to know is recapped nicely on the opening “what has gone before—” page, and more detailed breakdowns of each individual series (as well as web links to sample issues of all three titles for free) are provided on the text pages at the back, so this is a very accessible “jumping-on point” for new readers.

EdensFall01_

Just what there is to jump on to, though, is something of an open question and makes me wonder what they’re hoping to gain by co-mingling these franchises in the first place. Postal — which has apparently been optioned for television by Showtime — is the only of the titles involved here that’s a going concern at the moment, with both Think Tank and The Tithe in sales-related limbo for the time being. Maybe the idea is to breathe some new life into these books and drum up enough interest to precipitate a revival of one or both of them, but a quick little three-parter seems a curious vehicle for such an endeavor. The computer “super-hacker” protagonist of Think Tank and the former FBI agents of The Tithe are both central to the proceedings here, with events in this story picking up more or less exactly where the last issue of The Tithe left off, though, so clearly they’re not playing “second-fiddle” to the Postal cast even though the story itself is set in that series’ “off the grid” haven for ex-cons of Eden, Wyoming. I guess rather than worrying about the business logistics behind this “event,” then, I might be better served to just relax and enjoy it for what it is.

Screen-Shot-2016-08-30-at-9.10.33-AM-copy

Fortunately for us all, “what it is” happens to be pretty darn good. Hot on the trail of the duplicitous engineer of a series of “false flag” terrorist attacks designed to provoke a violent response against American Muslims, our aforementioned ex-G-men (and women) and their “Dark Web”-traversing buddy track him to Eden (which proves to be suspiciously easy for them to find), but other outside parties seem interested in the goings-on in the town that doesn’t exist for reasons as yet shrouded in mystery. Events move along at a nice clip, “screen time” is shared fairly equally among all parties, and a number of the more intriguing sub-plots from each of the respective series are “ported over” here in a way that won’t seem alienating to new readers. The plot construction in this issue is very solid, the mystery reasonably gripping, and the dialogue nicely expository without being overly so. Chances are pretty good, then, that even if you’re unfamiliar with any and/or all of these individual comics, you’ll find plenty to like here.

The “Hawkins-verse” has been one of the best-kept secrets in four-color funnybooks for a long time (even if we didn’t know it was an interconnected “universe” until a few months ago), and if Eden’s Fall maintains the standard of quality on display here throughout its brief run, odds are good that it’ll steer more people in the direction of Postal, at the very least (which is really hitting a nice creative stride right now) and perhaps even convince the powers-that-be that the other books deserve another arc or two, as well. That’d be a darn good thing on the whole for fans of intelligent, topical books that are relevant to — and resonant with — the world we actually live in.

Story: Bryan Edward Hill and Matt Hawkins Art: Atilio Rojo
Story: 8 Art: 7 Overall: 7.5 Recommendation: Buy

An Interview with Colorist K Michael Russell

K Michael RussellOf my many fantasy careers – stunt woman, animal wrangler for film and television, demolition derby driver, rollerskating stripper, trick hoola-hooper – professional colorist is the least physically exhausting and most realistically achievable. As someone who has always enjoyed the therapeutic benefits of coloring for fun, I’ve often wondered (yet never researched) what it would be like to color cartoons, be they animated or in print, for a living. Thankfully colorist K Michael Russell and I crossed paths through Graphic Policy. I got to try out his online coloring course and get a glimpse of his insider knowledge, in essence scratching my long-festering itch of curiosity.

Kurt, as he’s known casually (you can imagine why not formally), always enjoyed drawing and doodling but only began pursuing work as a colorist in 2011. Since then he has gone on to color for publishers including IDW and Image, and has developed an in-depth 10-hour course on how to color with Photoshop, a YouTube channel where you can stream almost 100 free tutorials and Q&As, and a blog full of fun and useful tips and links.

GP: What compelled you to pursue a career as a colorist and how did you start?

KMR: I originally started learning coloring just to finish my own line art–just pieces for fun as a hobby, but I sort of fell in love with that part of the process. I started finding others that wanted to make comics on forums and job boards. I did a lot of free or very cheap work up front just building my portfolio. After about a year or two, I started getting semi-regular gigs doing anthologies and shorts and whatnot.  I kept trying to improve and eventually got offers to work on books that were getting pretty good exposure.

GP: You have a really comprehensive, 10-hour course available on your website for $99, which is quite affordable for the amount of ground it covers. I’ve been working my way through it, and highly recommend it for anyone interested in learning to color with Photoshop! I’ve noticed you’re very open to being accessible to your students, frequently commenting that they can reach out to you with questions at any time. You also have a lot of free resources for honing one’s coloring skills available on your website, and I like that you’re so generous and encouraging of others to learn the trade – do other colorists share your “the more the merrier” philosophy, or is it typically a more competitive area?

KMR: I made the course and the YouTube channel, because I don’t want people to go through what I did when I first started–trying to navigate this sea of unrelated tutorials–trying to figure out how to make them work together. So I created a site where you can get it all in one place. Plus I enjoy teaching. I think it makes me better as an artist, because I have to be able to verbalize what I’m thinking–why something doesn’t “look right.” Knowing something doesn’t look right is one thing, but being able to articulate it is another. So I have a discussion section in the course, and I recently added an option for monthly live classes too, because I don’t think you can beat a one-on-one critique.

It’s a relatively small industry that’s making a lot of books right now. I see small press and indie creators looking for colorists all the time. I don’t think it’s necessarily a “the more, the merrier” situation, but I would hope that I can help improve the quality of the rookie colorists coming out of the gate. None of my colorist friends consider each other to be competition–at least I don’t think so. I’m always happy to see my friends get new gigs, and they are for me as well.

GP: For folks interested in pursuing coloring professionally, how long can it take to really get a foothold? In other words, is there an average amount of time you’ve noticed it takes before a new colorist can quit their day job?

KMR: There’s really not one right answer for this. It’s like anything else in a creative field I guess… you can be a prodigy and walk right into great gigs, but that is super-rare, or you can work for years trying to “break in.” You’re always breaking in though. Getting my first Image gig didn’t cause a line of publishers to form at my front door. You’ve still got to work to stay in and stay relevant.

For me personally, I worked for almost three years before working on a book that Joe Public had even heard of–Judge Dredd. I figure that’s probably pretty average. I’m still not a seasoned vet or anything myself though, so I can’t speak to anyone else’s experience getting started other than my own.

Judge DreddGP: I’m fairly blind to the behind-the-scenes of how comics get made, can you please explain where a colorist lands on the creative team? I know it sounds self-explanatory, but I’m wondering if you choose the color scheme independently, or is it informed by input from the writer(s) and illustrator(s)?

KMR: I get reference for characters colors… hair, eyes, costumes, etc. After that, it’s really up to me. I’ve been lucky enough to work with teams that just allow me to do what I think would be best. I’ll send pages up for approval from the team of course, and typically the feedback is just to tweak something here or there with a rare total overhaul on a page or panel or something.

GP: You talk a bit about color theory at the beginning of your online course – can you walk me through your general decision-making process when selecting your color palette for a project?

KMR: I choose the schemes based on the needs of the story, the amount of action, the emotion of the scene, that sort of thing. Sometimes, I’ll get a strong idea for a scene right from the beginning, and other times it’s just trial and error. I usually try to think in terms of cinematography. I’m a huge movie fan, and I’ve taken palettes from movies before. Or I’ll just imagine the scene as a movie and think about how it could look. The specific color palettes are less important than the values, contrast, and storytelling. Dave McCaig told me that once. “Color doesn’t matter–only value and contrast matter.” Write that one down, kids.

GP: My understanding after taking your course is that flatters can use whatever colors they want because it’s simple enough for you to change them – how often (if ever) do you find yourself in agreement with what the flatters choose?

KMR: My flatter’s colors have no bearing on the finished colors. My flatter uses very bright neon colors most of the time, so literally every color is changed. That’s how it is for most colorists, I believe. Flatting is a technical job–not a creative one.

GP: What are some of the most challenging parts of being a colorist and what are the most rewarding?

KMR: The most challenging thing is that when deadlines are missed earlier in the assembly line from pencillers and inkers it’s up to colorists to make up the time, since we go last along with letterers.

The most rewarding for me is meeting fans at shows or getting emails from happy students that have a first gig!  I actually have more fans of my educational stuff than the actual comics right now, and I’m fine with that! One 15 year old kid wrote once from Namibia thanking me for my coloring tutorials. Just blew my mind.

GP: Is there a particular writer or illustrator that you aspire to work with?

KMR: Mark Millar with 10% of the box office gross. But seriously, I’d love to color Sean Murphy, Humberto Ramos, or Joe Mad.

GP: You have a project with Image that’s just been announced, can you tell us about it?

KMR: Sure! It’s called Glitterbomb. It’s a horror story set in Hollywood–very dark, and a really fun story. It’s written by Jim Zub of Wayward, Skullkickers, Figment fame, pencilled and inked by Djbril Morisette-Phan, colored by me, and lettered by Marshall Dillon. We’ve got several issues in the can already.

Glitterbomb

GP: What has been your favorite project to-date and why?

KMR: I have to say that I think Glitterbomb is some of my strongest work, and it’s just a lot of fun to work on. The line art is strong, and that makes my job much more satisfying.

Glitterbomb 1 Glitterbomb 2

K Michael RussellCheck out Kurt’s latest YouTube video for more info on Glitterbomb, set to release on August 31st, and his new live coloring course that’s being offered as a supplement to his pre-recorded 10-hour class.

Image Comics Announces 20 Comics and More at Image Expo

Today at the Showbox Market Theater in Seattle, Washington, Image Comics kicked-off Emerald City Comicon with Image Expo and a slew of exciting creator-owned announcements.

They also announced a new initiative Creators for Creators as well.

Image Comics revealed the following creator-owned projects set to launch in the coming year and beyond.

AFAR by Leila del Duca & Kit Seaton

Critically-acclaimed, Russ Manning nominated SHUTTER artist Leila Del Duca teams up as co-creator and writer alongside artist, colorist, and letterer Kit Seaton (THE BLACK BULL OF NORROWAY, EVE OF ALL SAINTS) for an original graphic novel, AFAR.

In AFAR, Boetema suddenly develops the ability to astrally project to other worlds, unintentionally possessing the bodies of people light years away. Inotu, her inquisitive brother with a pension for trouble, finds himself on the run after he’s caught eavesdropping on an illegal business deal between small town business tycoons and their cyborg bodyguard. When Boetema accidentally gets someone hurt while in another girl’s body, the siblings are forced to work together to solve the problems they’ve created on their planet and others.

AFAR hits shelves this Fall 2016.

afar

BLACK CLOUD by Jason Latour, Ivan Brandon, Greg Hinkle, Matt Wilson, Aditya Bidikar, Tom Muller, edited by Maria Ludwig
Co-creators Jason Latour (SOUTHERN BASTARDS, Spider-Gwen), Ivan Brandon (DRIFTER, VIKING) and Greg Hinkle (AIRBOY, THE RATTLER), team up with colorist Matt Wilson (THE WICKED + THE DIVINE), letterer Aditya Bidikar, designer Tom Muller, and editor Maria Ludwig for an all-new series called, BLACK CLOUD.

Once upon a time…They built a world where dreams come true… And those dreams went to war. In BLACK CLOUD, we meet Zelda: exiled to Earth, her dreams of revolution are gone, but she still holds the key to the world she left behind. And it’s for sale.

BLACK CLOUD is set to launch in Fall 2016.

black cloud

THE BLACK MONDAY MURDERS by Jonathan Hickman & Tomm Coker 
All hail god money! From Jonathan Hickman (EAST OF WEST, Secret Wars, Avengers) and Tomm Coker (Undying Love) comes a mythical reinterpretation of modern global economics.

THE BLACK MONDAY MURDERS is classic occult indoctrination where the secret schools of magic are actually clandestine banking cartels who control all of society—a hidden world where vampire Russian oligarchs, Black Popes, enchanted American aristocrats, and hitmen from the International Monetary Fund work together to keep ALL OF US in our rightful place.

Each issue contains world-expanding bonus content like maps, corporate organization charts, decoded apocrypha, and stock tips to die for.

THE BLACK MONDAY MURDERS is a brand new, crypto-noir series about dirty, filthy, money… and what kind of people you can buy with it. Set to launch in Fall 2016.

the black monday murders

THE DIVIDED STATES OF HYSTERIA by Howard Chaykin
Howard Chaykin (SATELLITE SAM, BLACK KISS, AMERICAN FLAGG!) with the able assistance of Jesus Aburto on coloring, and Ken Bruzenak on lettering, unleashes THE DIVIDED STATES OF HYSTERIA.

THE DIVIDED STATES OF HYSTERIA is set in the aftermath of a dirty bomb that wipes New York City off the map, as what will come to be known as the Second American Civil War shatters the domestic landscape in isolated pustules of violence…and a team of five private contractors is charged with stemming this tide of rage and bringing the bombers to justice.

THE DIVIDED STATES OF HYSTERIA launches in Winter 2016.

the divided states of hysteria

GLITTERBOMB by Jim Zub & Djibril Morissette-Phan & K. Michael Russell & Marshall Dillon
Fan-favorite writer Jim Zub and newcomer Djibril Morissette-Phan come together with colorist K. Michael Russell and letterer Marshall Dillon for GLITTERBOMB.

“Probably the only thing I love more than comics is cinema,” said Morissette-Phan. “Which makes Glitterbomb a dream project since it’s a perfect blend of both.”

Set in Hollywood, GLITTERBOMB is a horror story about failed fame and blood-soaked revenge.

GLITTERBOMB is set to launch in late Summer 2016.

glitterbomb

HORIZON, by Brandon Thomas, Juan Gedeon & Frank Martin (Skybound)
Writer Brandon Thomas, artist Juan Gedeon, and colorist Frank Martin team up for an all-new series from Image/Skybound titled, HORIZON.

In HORIZON, Zhia Malen thought she’d fought her very last war, until she learned her planet was targeted for occupation…by a desperate world called Earth. The people of Earth will be told that her arrival on our planet means invasion. These are lies. This is retaliation, and Horizon explores what happens when our planet finally runs out of second chances. And when we meet an alien race just as committed to survival as we are…

HORIZON is set to launch from Image/Skybound in July 13, 2016.

horizon

THE HUNT by Colin Lorimer, Jim Campbell, and Joana Lafuente (Shadowline Comics)
Critically acclaimed writer/artist Colin Lorimer (Harvest) teams up with letterer Jim Campbell and colorist Joana Lafuente for THE HUNT.

At her father’s deathbed, Orlaigh Roche came face to face with the age-old myth of The Slaugh; a group of soul-stealing spirits so evil that not even hell would take them. Years later, and with the belief that her father’s soul is still trapped in some form of the netherworld, she goes looking for answers—beginning a journey that leads her down a path to discover what really happens to us after we die.

THE HUNT begins in 2016 from Image/Shadowline Comics.

the hunt

ISOLA by Brenden Fletcher & Karl Kerschl 
Bestselling creators Brenden Fletcher (Batgirl of Burnside, Gotham Academy) and Karl Kerschl (Gotham Academy, The Abominable Charles Christopher) re-team for ISOLA—an epic fantasy adventure series with the scope of Game of Thrones and the spirit of Princess Mononoke.

ISOLA is set in a mystical land where the queen’s brother enacts a treacherous plot to transform her into a tiger. The captain of the guard, a woman of great skill, brings swift and lethal vengeance, unaware the wicked prince alone has the power to reverse the spell. The two women—one on two legs, one on four—must undertake a perilous journey halfway across the globe to the fabled island of ISOLA, gateway to the underworld, where they hope to find the spirit of the queen’s late brother and return her to human form.

ISOLA is set to launch in Spring 2017.

isola

KILL OR BE KILLED by Ed Brubaker, Sean Phillips, Elizabeth Breitweiser
Bestselling writer Ed Brubaker (THE FADE OUT, FATALE), artist Sean Phillips (THE FADE OUT, FATALE), and colorist Elizabeth Breitweiser (THE FADE OUT, FATALE, OUTCAST BY KIRKMAN & AZACETA) reunite for KILL OR BE KILLED, the ultimate pulp crime comic.

KILL OR BE KILLED is the story of a troubled young man who is compelled to kill bad people, and how he struggles to keep his secret, as it slowly begins to ruin his life and the lives of his friends and loved ones.

Both a thriller and a deconstruction of vigilantism, KILL OR BE KILLED is unlike anything Brubaker and Phillips have done together in their long partnership.

KILL OR BE KILLED is set to launch in Summer 2016.

kill or be killed

LAKE OF FIRE by Nathan Fairbairn & Matt Smith
Co-creators Nathan Fairbairn (Scott Pilgrim, Batman Incorporated) and Matt Smith (Barbarian Lord) come together for an all-new series titled LAKE OF FIRE.

In LAKE OF FIRE it is 1220 AD, and the gears of the Albigensian Crusade grind on. When an alien mining craft infested with legions of bloodthirsty predators crash-lands in the remote wilderness of the French Pyrenees, a small band of crusaders and a Cathar heretic are all that stands between God’s Kingdom and Hell on Earth.

LAKE OF FIRE is set to launch in Summer 2016.

lake of fire

MOONSHINE by Brian Azzarello & Eduardo Risso, edited by Will Dennis
From Brian Azzarello and Eduardo Risso—the Eisner award-winning creative team behind the crime classic, 100 Bullets—comes the brutal new series, MOONSHINE.

MOONSHINE is set during the Prohibition Era, deep in the backwoods of Appalachia and tells the story of Lou Pirlo, a city-slick “torpedo” sent from New York City to negotiate a deal with the best moonshiner in West Virginia, one Hiram Holt. Lou figures it for milk run—how hard could it be to set-up moonshine shipments from a few ass-backward hillbillies? What Lou doesn’t figure on is that Holt is just as cunning as ruthless as any NYC crime boss and Lou is in way over his pin-striped head. Because not only will Holt do anything to protect his illicit booze operation, he’ll stop at nothing to protect a much darker family secret…a bloody, supernatural secret that must never see the light of day… or better still, the light of the full moon.

MOONSHINE #1 will hit stores in Fall 2016 and marks the first time Azzarello and Risso have worked together with Image Comics and reunites the acclaimed creative team that defined modern crime comics with 100 Bullets… and now puts a horror-twist on a classic gangster tale.

moonshine

MOTOR CRUSH by Brenden Fletcher, Cameron Stewart, & Babs Tarr
From the creative team behind the popular, New York Times bestselling Batgirl of Burnside—Brenden Fletcher, Cameron Stewart, and Babs Tarr—comes MOTOR CRUSH—is a stylish, neon-soaked, revved up science-fiction action series.

By day, a Domino Swift competes for fame and fortune in a worldwide motorcycle racing league. By night, she cracks helmets of rival gangs in brutal, illegal bike wars on the city streets to gain possession of a rare and valuable contraband: an engine-boosting “machine narcotic” known as MOTOR CRUSH. But the origins—and ultimate purpose—of this mysterious substance are unknown, and could put her on a collision course with danger…

MOTOR CRUSH rides into town this December 2016.

motor crush

PRIMA by Jen Van Meter, Rick Burchett, Eric Newsom, edited by Jeanine Schaefer
Spies.
Thieves.
Ballerinas.
PRIMA.
You don’t always see who’s standing in the spotlight.

Creators Jen Van Meter and artist Rick Burchett team up to tell an all-new story about a dance company—comprised entirely of former spies—righting the wrongs of the Cold War in a series called, PRIMA.

PRIMA follows Sophia Forais and Pauline French are the soloist and Managing Director of a dance company that once served as a front for a Resistance cell in France. Engaged for a long run in New York, the dancers have turned their attention and unique skills to aiding a veteran of the Romanian underground now being blackmailed by her American husband. The small operation should prove simple, but Sophia, Paulina and their colleagues will quickly learn that the war has not really ended, and the world is no less ruthless than it was when they were smuggling information and refugees during the Occupation.

An espionage/romance adventure set in the arts world just after WWII, PRIMA is a warm-hearted series of intrigues: To Catch a Thief goes to the ballet.

On stands in FALL 2016.

prima

PRINCE OF CATS by Ron Wimberly 
PRINCE OF CATS written and drawn by Ron Wimberly, lettered by Jarred Fisher, and featuring design by Jorden Haley returns to print from Image Comics.

PRINCE OF CATS was first released from Vertigo to critical acclaim in the summer 2012. It was out of print before the following summer. After three years, it will be returning to print through Image Comics.

PRINCE OF CATS is Rosencrantz and Guildenstern are Dead meets The Warriors meets Sword of Doom. PRINCE OF CATS sets Shakespeare’s Romeo and Juliet in an alt-universe, mid-eighties New York where dueling with live blades evolved as a cultural phenomenon alongside New York’s other street cultures; it eschews the story of the titular star-crossed lovers to follow the tragic story of Tybalt, the Prince of Cats.

PRINCE OF CATS, the definitive remastered author’s edition, is set to release in Fall 2016.

prince of cats

ROCKSTARS by Joe Harris & Megan Hutchison
Fan-favorite Joe Harris (THE X-FILES, SNOWFALL) teams up with artist Megan Hutchison for an all-new, ongoing series a la Almost Famous meets Supernatural called, ROCKSTARS.

ROCKSTARS follows a pair of young, rock ‘n roll investigators as they uncover a mystery involving a legendary band, dead groupies, human sacrifice and a supernatural undercurrent connecting so many famous—and even more undiscovered—secrets, myths and conspiracies peppering rock music throughout the ages.

When a pattern of unsolved ‘groupie’ murders dating back to the 1970s resumes in present-day Los Angeles, nobody makes the connection except for Jackie Mayer, a young rock nerd who not only knows everything about music history, trivia and its myriad secrets and factoids, but also harbors a mysterious, almost magical ability to ‘see’ what most people miss, and determine and divine what’s going unreported.

Joined by a music writer and aspiring investigative reporter named Dorothy Buell, and his loyal cat, Skydog, they soon uncover a vast mystery involving a legendary band’s exploits, their mercurial guitarist’s occult associations, demonic possession, and sacrifices to the dark gods of rock.

Each story arc will feature a case sprung from a different rock n’ roll era—British Invasion, Punk, 80s Heavy Metal, etc.—and draw on Jackie’s unique connection, knowledge, and darkly magical associations to crack them.

The series will launch in Fall 2016.

rockstars

ROMULUS by Bryan Hill & Nelson Blake II (Top Cow Productions)
Fan-favorite writer Bryan Hill (POSTAL) and Nelson Blake II come together for an all-new Image/Top Cow series in ROMULUS.

Set in the near future, ROMULUS follows the last in a line of near-mystical martial artists wages a revolutionary war against The Order of Romulus, the ancient secret society that trained her—a global organization, hidden in plain sight, that’s controlled the world since the days of Ancient Rome.

Their plan? Cull the population with genocide and rule a New World Order. Her plan? Kill them all or die angry.

Romulus launches from Top Cow/Image in Fall 2016.

romulus

SEVEN TO ETERNITY by Rick Remender & Jerome Opeña
Writer Rick Remender reteams with collaborators Jerome Opeña (Uncanny X-Force, Fear Agent) and Matt Hollingsworth (TOKYO GHOST, WYTCHES) to bring readers a modern fantasy series following Adam Osidis, a dying knight from a disgraced house, on a mission to rid his world of an insidious God who ensnared him in a Faustian deal.

Gharils Sulm, The God of Whispers is a Machiavellian warlord who holds sway everywhere in the world of Zhal. He’s spread an omnipresent paranoia to every corner of the kingdoms; one of his spies hides in every house, every family, every hall, spreading mistrust and fear.

Adam must choose between joining a hopeless band of magic users in their desperate bid to free their world of the evil God’s burden or give in to the The God of Whispers’ promises of salvation and safety.

The series is set to launch in the Fall of 2016.

seven to eternity

SURGEON X by Sara Kenney & John Watkiss, James Devlin, & Jared K. Fletcher, edited by Karen Berger 
Writer Sara Kenney and artist John Watkiss come together for an all new series, SURGEON X, and join forces with the award-winning Karen Berger, founding editor of DC’s Vertigo imprint.

Set against the backdrop of an antibiotic apocalypse in near future London. Rosa Scott, a brilliant and obsessive surgeon becomes Surgeon X, a vigilante doctor who uses experimental surgery and black market drugs to treat patients. But as Surgeon X, Rosa soon develops a godlike-complex, deciding who will live and who will die. Ultimately, she believes that to survive in this compromised world her own warped moral code is the one she must follow—even if it endangers those closest to her.

The comic is informed by hundreds of conversations with scientists, physicians, historians, economists, ethicists & philosophers to create this deeply disturbing, yet authentic future world.

SURGEON X was funded by a Society Award from Wellcome Trust, an independent global charitable foundation dedicated to improving health. They support bright minds in science, the humanities and the social sciences, as well as education, public engagement and the application of research to medicine.

SURGEON X will launch in Fall 2016.

surgeon x

VS by Ivan Brandon, Esad Ribić, Ive Svorcina, Aditya Bidikar, Tom Muller, edited by Sebastian Girner 
Writer Ivan Brandon (DRIFTER) and Esad Ribić (Secret Wars) team up with colorist Ive Svorcina, letterer Aditya Bidikar, designer Tom Muller, and editor Sebastian Girner for a futurist drama in, VS.

VS follows the rise and fall of Satta Flynn, a wildly popular soldier in a time when War has been privatized and is a form of entertainment.

Armies financed and equipped by super-corporations. War medics that double as Pit Mechanics. Satta’s every move is LIVE on TV. And for the first time, Satta finds out what it’s like to lose.

VS is set to launch in Fall 2016.

vs

WINNEBAGO GRAVEYARD by Steve Niles & Alison Sampson
Writer Steve Niles teams up with artist Alison Sampson, colorist Stéphane Paitreau, and letterer Clem Robins in WINNEBAGO GRAVEYARD.

Sampson used 1970s horror films for inspiration on the artwork and described the book’s overall look as: “about 70% Americana, slightly heightened, like True Blood, and about 30% ripping off of heads.”

A horror-adventure story, WINNEBAGO GRAVEYARD follows a family with a teenage son and what happens when their road-trip goes wrong and they find themselves stuck in a town full of satanists.

WINNEBAGO GRAVEYARD is set to launch in Fall 2017.

winnebago graveyard

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