Indie comic publisher A Wave Blue World has launched a Kickstarter campaign for Dead Beats, a horror anthology inspired by SyFy’s Haunted Collector and CBS’s Twilight Zone, incorporating music themes to bring an additional edge.
Dead Beats, curated by Eric Palicki and Joe Corallo, will be feature a diverse group of industry-shaping storytellers and artists, including recently announced Dwayne McDuffie Award winners Ivy Noelle Weir and Christina “Steenz” Stewart, GLAAD Nominated Magdalene Visaggio, Emmy-nominated writer of Late Show With Stephen Colbert’s Daniel Kibblesmith, Doom Patrol’s Rachel Pollack and Richard Case, Suicide Squad’s Vita Ayala, Women in Comics Collective International co-founder Regene Sawyer, and more.
This music-themed horror anthology centers around the proprietor of a music store that contains a number of unusual artifacts. As the “shoppe keeper” guides readers through the shop, each creator will weave a haunting tale revealing the origin of these mysterious items.
A Wave Blue World is asking readers to be involved and to support Dead Beats’ Kickstarter Campaign by preordering Dead Beats, selecting Exclusive awards offered including original art by artists like Jen Hickman and an one-on-one portfolio review with Joe Illidge, A Wave Blue World’s Editorial Director, formerly editor at DC Comics, Lionforge, and Valiant, or simply just pledging to be included in the backers page.
The Baltimore Comic-Con returns to the Inner Harbor on September 2-4, 2016 at the Baltimore Convention Center. They’ve announced new comics guests Brian Stelfreeze, Joe Linsner, SL Gallant, Alexis Frederick-Frost, and Richard Case. Find ticket details for the Baltimore Comic-Con and Harvey Awards.
Brian Stelfreeze, one of the original Gaijin Studios members, is a multi-talented artist, with experience and credits penciling, inking, coloring, painting, and even writing. His comic book covers have gained him much attention and lauding, and his run painting covers on DC Comics’ Shadow of the Bat for over 50 issues is noteworthy by itself. His name has been attached to titles such as Domino for Marvel, Matador and Wednesday Comics‘ feature on Demon and Catwoman, for DC, and Gun Candy and The Ride at 12-Gauge Comics (where he serves as Art Director). Brian’s creative output is found these days on BOOM! Studios’ Day Men, Marvel Comics’ Black Panther, and be sure to pick up BOOM! Studios’ The Signature Art of Brian Stelfreeze this September to get a definitive look at the works of his publishing career.
Joseph Michael Linsner is most well-known for his creation Dawn, who first appeared in the self-published Cry for Dawn in 1989 and followed by numerous series at Sirius, He is also the creator of several other characters, including Sinful Suzi in Sin Boldly, released in December 2013 by Image Comics. He has worked on Dawn/Vampirella through Dynamite Entertainment, Justice League Quarterly at DC Comics, Killraven, Mystique, and Claws at Marvel Comics, and he drew the cover of the Image Comics one-shot Witchblade/The Punisher #1. In September, he will provide interior art duties on DC Comics’ Harley Quinn.
In addition to a having had a healthy commercial illustration career working major brand names and customers, SL Gallant has worked on a wide range of comics titles for publishers such as DC, Chaos, Malibu, and Dark Horse. Once he started doing work for Marvel Comics and Titan Comics, he transitioned to working full-time in the comic industry. In recent years, his work has been published by IDW, first on their Don Pendleton’s The Executioner series and now on their ongoing G.I. Joe movie prequel series. For Titan Publishing, he has provided art for Torchwood magazine and their Dreamworks Monsters Vs. Aliens movie adaptation. You will also have undoubtedly noticed his Free Comic Book Day cover for American Mythology Productions’ The Pink Panther.
Alexis Frederick-Frost, an inaugural class graduate of the Center for Cartoon Studies (CCS), is a co-author and illustrator of the critically acclaimed Adventures in Cartooning series of graphic novels. A combination of a how-to book and an exciting adventure story, Adventures in Cartooning was chosen as a Booklist Top Ten Graphic Novel of 2010 and received multiple awards. He also writes and illustrates the recurring comic Kit and Clay published in The Phoenix Magazine in the United Kingdom. Alexis’s illustrations have appeared online and in a variety of publications by Nickelodeon Magazine, Bodleian Library Press, First Second Books, Tugboat Press, and others. Alexis will be seated in our Kids Love Comics Pavilion.
Richard Case got his start at Marvel Comics, working on Strange Tales, but got his first real run on Doom Patrol at DC Comics. He has contributed to numerous other noteworthy, acclaimed titles at DC Comics, including Sandman, Shade, the Changing Man, Preacher, and Hunter: The Age of Magic. He was also a contributor to the Artist Alley Comics digital initiative, and has recently seen work solicited in Action Lab Entertainment’s Princeless: Raven, the Pirate Princess, Dynamite Entertainment’s The King Collection, DC’s Doom Patrol Book Two trade paperback, and AC Comics’ Crypt of Horror.
writers: Ben Acker, Ben Blacker, Roger Langridge, Paul Tobin, Nate Cosby, Ben McCool, Brian Clevinger, Jeff Parker
artists: Richard Case, Ryan Cody, Felipe Cunha, Lee Ferguson, Tadd Galusha, Scott Godlewski, Sandy Jarrell, Marc Laming, Ivan Rodriguez, Ron Salas, Brent Schoonover, Jeremy Treece
cover: Darwyn Cooke
FC • 496 pages • $49.99 • Teen+
COLLECTS KING: FLASH GORDON #1-4, KING: MANDRAKE THE MAGICIAN #1-4, KING: THE PHANTOM #1-4, KING JUNGLE JIM #1-4, AND KING: PRINCE VALIANT #1-4
When Ming the Merciless launched an all-out assault on planet Earth, the colorful band of heroes known as Kings Watch led the resistance… and triumphed! Now, across the cosmos, in the dark corners of our very planet, and even throughout time, Earth’s defenders continue the mission, separate and yet together in spirit! Flash Gordon, Dale Arden, Dr. Zarkov, Mandrake the Magician, Jungle Jim, Lothar (in his identity as the new Phantom), and Prince Valiant join friends new and old to face the combined forces of Ming and the all-new, all-deadly Cobra!
“Now his wars on God begin;
At stroke of midnight God shall win.”
– Yeats, The Four Ages of Man.
“Have them fight God.”
– Lee to Kirby, apocryphal.
I’m reading every Fantastic Four comic and posting four thoughts about each.
Like many of you who’ll be reading this, and any of you who didn’t blink at that last sentence, I’ve a tendency to form abnormally strong attachments to the media in which I invest. Sometimes that’s worked out well for me, sometimes it’s worked out less so. You know how it goes.
Over the last few years I’ve noticed many of those attachments breaking. The UK version of Big Brother filled my heart and mind for fourteen summers and then it didn’t. Doctor Who was the central mythology of my life for over thirty years and then it wasn’t. There exists no critical/medical consensus on whether Big Brother and Doctor Who went a bit rubbish or whether this might have had something to do with me trying depression on for size, but that doesn’t matter too much. What matters is that they were gone.
They were gone and, surprisingly, that was fine. These weren’t bitter, acrimonious break-ups like we all had with Pretty Little Liars. They were just gone. Doctor Who and Big BrotherUK, these unmanageably massive and unfathomably strange texts that had occupied so much of my thought and my time for so long had just packed up and left in the night. I felt a bit melancholy about losing them but supposed I had no real regrets. I didn’t feel that I’d wasted thirty-one years on Doctor Who or fourteen years on BBUK. As I say, it wasn’t like with Pretty Little Liars.
But, as I stared out of the window listening to ‘Days’ by the Kinks and watching Doctor Who and Big Brother UK load their luggage into a taxi, I realised that perhaps I did have a regret. Perhaps it would have been nice if, instead of them just leaving, we could have talked things out properly first. Wound things up nicely. Worked out what we meant to each other. Consciously uncoupled.
So here I am now in the same situation with superheroes. Again, there’s no acrimony here. I didn’t wake up one morning and think, “Wait a minute! These are all fundamentally authoritarian power fantasies and any attempt to use them in progressive narratives will always be either disingenuous or naïve! Fiddlesticks!” No, no. None of that. Superheroes mean all sorts of different things and will continue to do so. I’m just done following the ongoing narratives and metanarrative of the superfolk as go about their cultural business. But this isn’t going to go like how it did with Doctor Who and BBUK. Superheroes and me are going to do this properly. We’re sitting down and having the talk.
That conversation is taking the form of the project presented to you here; Have Them Fight God. In which I’m reading every Fantastic Four comic and posting four thoughts about each.
Why the Fantastic Four? There are a couple of reasons. One of which is that, when I first started reading superhero comics with Secret Wars then the FF felt to me like the heart of the story and, when I stopped reading superhero comics thirty years later with Secret Wars then they were indisputably the heart. They’ve not always been the centre of my attention or my enthusiasm as I’ve gone along, sometimes they have but not always, but if the story of my investment in superheroes can be mapped onto any set of characters then it’s them. It’s only through these plucky Imaginauts that I’ve got any chance of understanding the journey I’ve been on, of getting the number of the genre that just hit me. The other reason is that there are too many Superman comics.
I’m worried that I haven’t made this sound much fun! Break-up metaphors! Depression mentions! You must think you’re in for a right load of gloomy old grumbles. Don’t worry. It won’t be that at all. It’ll be a hoot! This project might not be explanatory (I’m writing from a position of inquiry rather than expertise) and it won’t always be celebratory, but it will be relentlessly exploratory. Exploration’s fun, isn’t it? To anticipate and misquote a phrase that will become important as we go along; It’s a human adventure.
Best get on with it then. Every Fantastic Four comic. Four thoughts on each.
Today that means…
MARVEL SUPER HERO ISLAND ADVENTURES #1
…from April 1999, a comic which encourages visitors to Universal’s Islands of Adventure theme park to lend a helping hand in bringing about the utter destruction of the Fantastic Four.
Written by Michael Stewart. Inked by Richard Case. Coloured by Paul Mounts. We’ll get to the penciller in a minute.
By the start of 2009, Marvel Entertainment would be the world’s fourth largest licensor. For that very reason, it would end 2009 having been bought by the world’s first largest licensor. The real world monetary value of all the characters discussed in this project eventually comes to derive not from companies producing fictions about those characters but on companies selling licenses to other companies, granting them the right to make shoes, duvet covers, milkshakes and tins of spaghetti shapes. For some time Disney have made more money from selling licenses than they have from making films. That’s their model, and those are the sums that caused them to decide Marvel was worth $4 billion.
Ten years earlier, when this comic came out, Marvel was not worth $4bn. But it was two years out of bankruptcy, it was under in the control of Ike Perlmutter, and it already had Avi Arad pushing for the strategies that would one day bait the mouse.
So this little book, a tie-in to the deal that let Universal have a Marvel Island at their newly-opened ‘Islands of Adventure’ theme park, is a valuable artifact. Marvel’s final destiny was as a licensing company. This lets us have a look at what sort of brand they thought they were selling at the start of the process which took them there.
The most self-evident thing, when you first pick up the comic, is that this is a heritage brand. Over in publishing the Quesada/Jemas project to modernize the line has just begun. Kevin Smith’s Daredevil and Paul Jenkins’ Inhumans are under way. You wouldn’t know. That’s not yet anywhere to be seen on the face that Marvel is showing to the world outside the direct market. In 1999 the Quesada/Jemas Project is still an experiment rather than a direction. The Marvel Brand that has been sold to Universal is one that purports to be exciting because it is nostalgic.
Its cover assures us that the three exclusive stories within are “all told in the Mighty Marvel Manner.” What an amazing bit of copy. What a decision. What’ll speak to theme park goers in 1999? I know! One of Stan’s old cornball phrases! Imagine if “Told in the Mighty Marvel Manner!” had been the tagline for the 2008 Iron Man film.
Actually, yes, imagine just that. Because that highlights perfectly the difference between the brand that Marvel sells now and the brand it was selling in 1999. Modern Marvel films assert that they’re worthy of your time because of a present and immediate relevance to our contemporary world.
Whenever tendrils of that strategy reach Alan Moore’s cave they drive him to such fury that he emerges to complain about our cultural fixation on characters from the sixties. In every interview he makes that point, and every time the comics-reading audience responds with something along the lines of, “Yeah, but mate – aren’t your comics all about characters from Lovecraft’s Cthulhu Mythos and Enid Blyton’s Noddy Mythos?”
The comics-reading audience is missing what Moore finds so provocative. It’s the way our culture processes these sixties’ characters; a way that actively discourages us from thinking about the fact that they’re sixties characters. The modern Marvel brand does not invite us to retain a consciousness of these ideas being old ideas. It invites us to treat them as the Now and to thrill to them accordingly.
Now, I’m not saying that Alan Moore would have a grumble-free day out at Universal’s Islands of Adventure. I’m just saying that what’s happening in this comic is at an opposite extreme to one of his frequent complaints. Here we’re being invited to value this stuff precisely because it is the past. Because it’s part of American heritage and part of childhood.
The comic opens with an intro from Stan Lee. He uses the phrases ‘true believers’ and ‘rollicking readers’ and signs off with ‘Excelsior!’, all of which are exactly what’s wanted from him.
He also misleadingly implies that he’s had some editorial involvement in this comic. A lot of things change. A lot of things don’t.
There are three stories in this comic. One starring Doctor Doom, one starring Spider-Man, and one starring the Hulk. If we’re looking for answers to the question, “What do licensees want from the Fantastic Four?” then we’ve got a pretty big clue right there.
“What do licensees want from the Fantastic Four?”
That broadly seems to be the case today. Conversations about how Marvel no longer hold the film rights to the Fantastic Four turn very quickly into lists of other properties first introduced in FF comics that are therefore denied them. The great annoyance for a lot of people is not that Marvel’s First Family have no place in the most successful version of the Marvel Universe, but that the Fantastic Four can’t be asset stripped.
Sue, Johnny, Reed and Ben are not, in the licensing game, particularly important parts of the Fantastic Four package. We’ve seen the extremes of this over the last couple of years in behaviour from both Fox and Perlmutter. Fox have been perfectly happy to devalue the Fantastic Four as a brand precisely because they’ve no sincere interest in exploiting that brand; just in retaining a cluster of IP that Marvel wants. While Perlmutter’s been happy to stop licensing Fantastic Four merchandise altogether as a move in that game.
Sue, Johnny, Reed and Ben are in this comic though. Doom is what’s wanted, as branding for a ride called ‘Doctor Doom’s Fear Fall’, but the FF are present as motivation for him to have built such an attraction.
What does Doom want? To utterly destroy the Fantastic Four.
How will Doom get it? By building a theme park ride.
We’ll see plenty of stories from Doom’s perspective as Have Them Fight God trundles along, but what does it mean for this particular one to be a Doctor Doom story that features the Fantastic Four?
Not terribly much, to be honest. Because the figure the story’s really structured around is YOU. It’s an eight page build to the reveal of where you, the reader, fit into the story and what your role in events is to be.
We open with a page of Doom addressing some random civilians who he’s holding captive in order to harvest their fear and turn it into lasers or something. “Together,” he tells them, “we shall teach the Fantastic Four that they have nothing to fear but… Fear Itself!”
Then we get a couple of pages of a standard superhero punch-up, which Doom loses due to the apparently unforeseen circumstance of Johnny being able to shoot fire. Don’t worry, though. It was just a remotely controlled robot.
The real Doom is “elsewhere” (Universal Islands of Adventure) working on another machine to harvest the fear of pitiful fools. We end with the reveal that you, the reader, are fungible with a group from within this comic. You too can live the experience of playing a part in a story that’s certifiably told in the Mighty Marvel manner. You can step inside these very pages! You can enter this narrative directly! Not as a superhero or supervillain though, but never mind. For the price of a ticket to Universal Islands of Adventure YOU TOO can be a pitiful fool and assist in the final destruction of the Fantastic Four.
Hey…I tell you who drew this though. Only Mike Werringo! Only the sole definitive Fantastic Four artist of the Twenty-First Century! Why’s this issue not included in the Big Omnibus of his run, then? Probably because there’s no such Omnibus, now I think about it. That’s weird too.
It’d be cool if this was the first time he drew them, wouldn’t it? That’d be a fun take for me to go with, wouldn’t it? This century’s definitive vision of the Fantastic Four starts here in Marvel Super Hero Island Adventures! But, nah. Werringo had already drawn an issue of Heroes Reborn. Fucking Heroes Reborn.
Werringo hasn’t devised those character models for the FF yet though. He’s almost there with Ben. This Werringo agrees with his future self on the matter of Ben’s shoulders; that they should ideally be one big continuous curve and that the rest of his physiology should fit in with that. Other than that though, they all look a bit generic.
Visuals aside, it’s interesting to look at what constitutes a ‘generic’ Fantastic Four in 1999. What’s the default form in which they’re seen to exist when abstracted from continuity?
In terms of characterisation then it’s all what you might expect. Reed’s the one who apprehends the situation and gives the orders (”Let’s move, people!”). Sue’s doing feats of endurance and moments of innovation. She and Reed do little coupley affirmations in the middle of combat. Ben does the punching and the catchphrase. Johnny gets so incensed by the idea of torture that he attempts murder.
Wait. What was that last one again? That’s not generic.
The page in question is just trying to do two things; characterise Johnny as impassioned and get us to the reveal that we’ve been dealing with a Doombot. But how it plays out is like this –
Johnny makes a status move, castigating Doom for the banality of the weapons he’s deploying against them. “Come on, Doom. A fancy ray gun and purple dumbots – is that the best you can do? This is the Big Leagues, Buddy!” This is a great bit of trolling, as any version of Doom is going to be pissed off by the idea that the accursed Richards family occupy a station to which he is required to step up to.
Johnny switches to a position of principle, expressing outrage that Doom is torturing innocent people to power his fancy ray guys and informing him that it’s going to stop. “Right here! Right now!”
Johnny releases all his power at Doom in a firey inferno that both he and Reed clearly understand will kill him.
Nobody expresses any surprise at Johnny’s actions or castigates him for them. All that’s articulated is shock that this has failed to kill Doom. And all we can conclude is that, in the dark and gritty universe of Universal Islands of Adventure, the Fantastic Four routinely fight to the death.
There’s one more thing that’s worth pointing out about this FF, which is that they explicitly operate out of Four Freedoms Plaza. That’s a peculiar thing for this comic to specify as it’s neither their iconic home (The Baxter Building), their current home (Pier 4), or the building that Universal is hyping (Doctor Doom’s Fear Fall). It’s just the building that they lived in after the end of the Byrne run until the Thunderbolts blew it up. What’s it doing in this comic? I don’t know, but its presence does tell us two things. That Pier 4 was not expected to endure and that the return of the Baxter Building was not seen as inevitable.
Doom’s plan in this story raises many questions. The first is what exactly it’s trying to achieve. There are numerous references to the destruction of the Fantastic Four, so we know that that’s a goal, but at one point he also enthuses about the destruction of all others who resist his will and the commencement of his reign of terror, so I think we have to suppose he’s shooting for that too.
The next question is how these goals are advanced by building a theme park attraction which elevates people to 185 feet before suddenly but safely returning them to ground level in an experience that Rob and Jennifer of Baltimore describe as a “Major rush.”
Rob and Jennifer M. Baltimore ,FL
We know that this process of elevating people to 185 feet before suddenly but safely returning them to ground level allows Doom to harvest their fear and convert it to energy. It still seems quite a jump from there to the destruction of all who oppose your will. At best what Doom has here is a small power station. At worst what he has is a terribly inefficient one, as it’s hard to imagine that elevating people to 185 feet before suddenly but safely returning them to ground level and harvesting their fear isn’t a process that runs at a net energy loss.
There are no clues in the story as to how scaring theme park goers can possibly yield more energy than this method of doing so expends, but I suppose that Marvel mythology holds fear to be an extradimensional force. The Halls of Fear and the Nightmare Realm and so forth are all spaces which exist outside the physical universe. Presumably Doom isn’t drawing energy from his terrified punters, but through them, using their distress to siphon power from these metaphysical spaces.
The problem of what Doom is to do with this energy is solved on the last page with the introduction of the trans-thermal fusion dynamo, which it is to power. We’re given no indication as to what that is, or why Doom couldn’t just plug it in and run it off the mains like a normal person, but I’m sure it’s brilliant.
Actually, no… wait. Trans-thermal…fusion…dynamo… all that phrase can possibly mean is a generator. Doom has built his rubbish power station in order to fuel… a better power station. He’s a right nob sometimes. It’s no wonder that people have been dropping from his towers for seventeen years now and not only has he failed to conquer the world, he’s failed to even conquer the two adjacent Islands of Adventure (‘Toon Lagoon’ and ‘Port of Entry’). Though I like to imagine that he was getting close in 2010, only to be put in check when the Wizarding World of Harry Potter moved in opposite.
Nowadays, of course, it’s another quirky legacy of Marvel’s 90′s deals that Universal theme parks can have Marvel attractions while Disney theme parks, more or less, can not. Commentators on the theme park industry are watching all this very closely. There are eyes on every move Universal and Disney make. So there was a lively flurry of excitement last year when rumors started to circulate of secret construction work in the area behind Doom’s Fear Fall.
It’s both easy and appropriate to be cynical when talking about the business side of all this. But there’s something delightful about reading people speculating in all seriousness about mysterious secret buildings hidden behind Doctor Doom’s lair.
Writer(s): Jeremy Whitley
Artist Name(s): Rosy Higgins, Ted Brandt
Cover Artist(s): Rosy Higgins, Ted Brandt
Orderable Variant Cover by: Katie Cook
Additional covers by: Mike Hawthorne, Richard Case
32 pgs./All Ages / FC
$3.99 (reg.)/$4.99 (var.)
Spinning right out of the pages of Princeless, it’s the ongoing adventures of Raven Xingtao, The Pirate Princess. Raven if ready to set off on a quest for revenge against her brothers who have stolen her inheritance. The monthly ongoing series picks up right where Princeless Volume 3 left off and has the same creative team with Variant covers by Katie Cook, Mike Hawthorne, and Richard Case, limited to 2,000 copies each!
Buy your tickets now for the 2015 Baltimore Comic-Con, taking place the weekend of September 25-27, 2015 at the Baltimore Comic-Con. This year, the Baltimore Comic-Con welcomes back Richard Case, Todd Dezago, Chris Kemple, Craig Rousseau, Rich Woodall, and Kelly Yates.
Richard Case got his start at Marvel Comics, working on Strange Tales, but got his first real run on Doom Patrol at DC Comics. He has also contributed to numerous other noteworthy, acclaimed titles at DC, including Sandman, Shade, the Changing Man, Preacher, and Hunter: The Age of Magic. He is also a contributor to the Artist Alley Comics digital initiative. His recent work can be seen on DC Comics’ Batman ’66, Dynamite Entertainment’s Flash Gordon and King: Jungle Jim, and variant covers from Action Lab Entertainment’s Princeless: Raven the Pirate Princess.
Comics writer Todd Dezago has been a contributed noteworthy story lines to many Image, DC, and Marvel comic books. At Marvel Comics, he has scribed runs on Spider-Man, Sensational Spider-Man, Super Hero Squad, Marvel Adventures, Marvel Age: Spider-Man, Marvel Age: Spider-Man Team-Up, Cable, and X-Factor. For DC Comics, he has worked on Impulse, Teen Titans, JLA: World Without Grownups, Legends of the DC Universe, and Young Justice. Dezago’s creator-owned titles, Tellos and Perhapanauts, are published through Image Comics, and have garnered much attention and kudos. Along with his co-creator, Craig Rousseau, Dezago is in the midst of a Kickstarter campaign for their newest work, The Perhapanauts: Into Hollow Earth.
Chris Kemple is one of the contributors to the digital comics effort, Artist Alley Comics, and his work can be found in G.T. Labs’ Fallout. After graduating with a BFA in Painting and Drawing from East Carolina University, Kemple worked as an assistant at Artamus Studios with Richard Case, Mike Wieringo, Jeff Parker, Casey Jones, and Scott Hampton, among others. Currently a teacher and freelance artist, Chris was a founding member of and texture artist and 3D object modeler at video game development studio, Red Storm Entertainment.
Craig Rousseau has spent his career as an artist working on numerous noteworthy titles and runs. He has provided art on DC Comics’ Batman Beyond, Harley Quinn, and Impulse, Marvel’s Captain America & the Korvac Saga, Spider-Man Loves Mary Jane Season 2, and Iron Man & the Iron Wars, and he can be seen lately working on DC Comics’ Batman ’66, Image Comics’ Perhapanauts: Danger Down Under, Dark Horse Comics’ Dark Horse Presents, and Dynamite Entertainment’s Pathfinder: Goblins! as well as Teen Titans Go! variant covers for DC Comics’ Aquaman, Green Arrow, and Justice League of America. He currently has an active Kickstarter campaign for his newest work with co-creator Todd Dezago, The Perhapanauts: Into Hollow Earth.
Rich Woodall, also an Artist Alley Comics contributor, is known for his creator-owned titles, Johnny Rayguy, the Zombie Bomb! Comic Anthology, and Kyrra Alien Jungle Girl, the latter of which has appeared recently in Dark Horse Comics’ Dark Horse Presents. He has also worked on Image Comics’ Savage Dragon, The Perhapanauts, and more recently worked on a variant cover for IDW’s Teenage Mutant Ninja Turtles.
Kelly Yates has provided artwork for Amber Atoms, Tales of Tellos, and The Perhapanauts at Image Comics, numerous Doctor Who titles at IDW, including Doctor Who: A Fairytale Life and Doctor Who: Prisoners of Time, Fear Agent at Dark Horse Comics, and JLA-Z at DC Comics. He also wrote Image’s Amber Atoms, and can lately be found contributing to Artist Alley Comics as well.
In addition to on-site CGC grading, this year’s confirmed guests for the show include: Neal Adams (All-New Captain America); Scott Ambruson (Azteca: Ciudad Paradiso); Jeremy Bastian (Cursed Pirate Girl); Marty Baumann (Pixar artist); John Beatty (Secret Wars); Christy Blanch (The Damnation of Charlie Wormwood); Mark Buckingham (Fables); Bob Budiansky (courtesy of Hero Initiative, Transformers); Talent Caldwell (Grimm Fairy Tales Presents White Queen: Age of Darkness); Chris Campana (Kantara); Richard Case (Doom Patrol); Sean Chen (Secret Origins); Cliff Chiang (Wonder Woman); Frank Cho (Jungle Girl); Steve Conley (Bloop); Amanda Conner (Harley Quinn); Katie Cook (Gronk); Darwyn Cooke (Richard Stark’s Parker); Todd Dezago (Perhapanauts); Joe Eisma (Morning Glories); Ramona Fradon (Spongebob Annual-Size Super-Giant Swimtacular); Francesco Francavilla (Secret Wars: Battleworld); John Gallagher (Buzzboy); Jose Luis Garcia-Lopez (Batman ’66: The Lost Episode); Daniel Govar (Marvel’s Captain America: The Winter Soldier Prelude); Keron Grant (Father’s Day); Mike Grell (courtesy of Hero Initiative, Action Comics); Laura Guzzo (Princeless: Short Stories for Warrior Women); Cully Hamner (Convergence: The Question); Dean Haspiel (The Fox); Russ Heath (G.I. Combat); h-eri (Ivory Dragon Studios); Jaime Hernandez (Love and Rockets); Ken Hunt (Talon); Klaus Janson (Superman); Dave Johnson (Inhumans: Attilan Rising); JG Jones (Strange Fruit); Chris Kemple (Red Vengeance); Denis Kitchen (The Best of Comix Book: When Marvel Went Underground); Barry Kitson (Empire: Uprising); Paul Levitz (Convergence: World’s Finest Comics); Mike Lilly (Grimm Fairy Tales Presents: Robyn Hood); Nate Lovett (Midnight Tiger); Kevin Maguire (Justice League); Mike Manley (Darkhawk); Mark Mariano (The Other Side of Hugless Hill); Laura Martin (Star Wars); Ron Marz (Convergence: Batman and Robin); Bob McLeod (Secret Wars); Pop Mhan (He-Man: The Eternity War); Terry Moore (Rachel Rising); Nen (The Memory Collectors); Tom Palmer (The Avengers); Jimmy Palmiotti (The Con Job); Dan Parent (Archie); Brent Peeples (Legenderry: Green Hornet); Andrew Pepoy (Afterlife with Archie); David Peterson (Mouse Guard); Khoi Pham (X-Men Legacy); Andy Price (My Little Pony: Friendship is Magic); Ron Randall (Convergence: Catwoman); Budd Root (Cavewoman); Don Rosa (Donald Duck); Craig Rousseau (Batman Beyond); Stephane Roux (Harley Quinn and Power Girl); Andy Runton (Owly); Stan Sakai (Usagi Yojimbo); Matteo Scalera (Black Science); Jeff Shultz (Betty and Veronica); Bart Sears (Bloodshot); Louise Simonson (Convergence: Superman – The Man of Steel); Walter Simonson (Convergence: Superman – The Man of Steel); Matt Slay (The Sakai Project: Artists Celebrate Thirty Years of Usagi Yojimbo); Andy Smith (Earth 2); Matthew Dow Smith (X-Files Season 10); Charles Soule (Uncanny Inhumans); Jim Starlin (Thanos: The Infinity Relativity); Marcio Takara (Armor Wars); Ben Templesmith (Gotham by Midnight); Mark Texeira (Ghost Racers); Frank Tieri (Suicide Squad); Peter Tomasi (Green Lantern Corps); John Totleben (Swamp Thing); Jeremy Treece (King: Mandrake the Magician); Billy Tucci (Shi); James Tynion (Constantine: The Hellblazer); Rick Veitch (Saga of the Swamp Thing); Charles Vess (Little Nemo: Dream Another Dream); Mark Waid (Daredevil); John Watson (Red Sonja); Matt Wieringo (‘Ringo Scholarship Fund); Marv Wolfman (courtesy of Hero Initiative, Convergence: New Teen Titans); Rich Woodall (Kyrra); Kelly Yates (Doctor Who); Thom Zahler (My Little Pony: Friends Forever); and Mike Zeck (Secret Wars).
Action Lab Entertainment is proud of their record of diversity in comic book storytelling, with the title Princeless being one of the keystones in the line. This month, fans of Princeless may have noticed a new monthly series spinning out from it’s pages: Raven, The Pirate Princess!
The character of Raven spun out of Action Lab’s Free Comic Book Day release which called for giving existing reader something new, and also show off what Princeless is all about. Hence a girl who just so happens to be a dangerous swashbuckling pirate princess!
Debuting in July, Princeless:Raven, The Pirate Princess follows Raven Xingtao, who is ready to set off on a quest for revenge against her brothers, who have stolen her inheritance. The comic has four covers: A standard cover by series artists, Rosy Higgins and Ted Brandt, and three variants by Katie Cook, Richard Case and Mike Hawthorne.
Be sure to check out Princeless:Raven, The Pirate Princess when it debuts this July in comic stores everywhere! And, check out the preview below!
Paul Tobin (w)
Sandy Jarrell, Felipe Cunha, Richard Case (a)
Chip Zdarsky (c)
FC • 32 pages • $3.99 • Teen+
FANS, ASK YOUR RETAILER FOR THE:
Chip Zdarsky “Virgin” Art retailer incentive cover
Wilfredo Torres Exclusive Art retailer incentive cover
Wilfredo Torres B/W Art retailer incentive cover
IMPOSSIBLE TRANSFORMATION! Who, What, Where, Why, When and How is Jungle Jim? Should our band of Beast-Men and aliens ask for his help? Can he be trusted? Is he on the side of angels? And will he fully commit to wearing pants!? The WEIRDEST corner of the King universe brought to you by PAUL TOBIN (Colder) and SANDY JARRELL (Meteor Men)!
Frank J. Barbiere (w)
Joe Bennett, Richard Case, Roger Robinson, Matther Marks, Sandy Jarrell (a)
Juan Doe (c)
FC • 144+ pages • $16.99 • Teen+
“This all started with an accident…” Brilliant scientist Phil Seleski had unlimited cosmic abilities, until he exploded and accidentally gave the powers to his daughter Erica (who is absolutely NOT a brilliant scientist). Now Phil’s made of energy and Erica’s the most powerful (and freaked-out) person on Earth. Can they work together to stop an invading alien armada without killing each other?
Includes the complete story arc from issues #1-4 of the Solar comic book series, a complete cover gallery (featuring dozens of pin-ups), plus a complete issue script.
Jeff Parker (w)
Sandy Jarrell, Richard Case, Evan Shaner, Jordie Bellaire(a)
Marc Laming (c)
FC • 32 pages • $3.99 • Teen+
BRAND NEW ARC! SAME CREATIVE DREAM TEAM!!!! JEFF PARKER (Batman ’66, Aquaman), EVAN “DOC” SHANER (Adventures Of Superman) & JORDIE BELLAIRE (Moon Knight) take Flash to Sky City, as The Man From Earth battles against the Hawkmen under rule of Ming The Merciless! How’s one man supposed to save a galaxy? Simple…punch stuff and keep smiling!