Tag Archives: rick remender

A new Tokyo Ghost cover revealed as Rick Remender’s Giant Studios kicks off a line of reprints and collected editions

Comics titan Rick Remender’s Giant Generator Studios line of bestsellers will see a number of exciting upcoming releases next year—including a long-anticipated reprint of the Tokyo Ghost hardcover co-created with artist Sean Gordon Murphy—all published by Image Comics. Image has revealed new cover art by Murphy to grace the upcoming Tokyo Ghost hardcover reprint which will land on shelves in April 2023.

Upcoming Giant Generator titles greenlit for publication include to following, with more to come:

  • 12/21Seven To Eternity deluxe hardcover (co-created with artist Jerome Opeña)
  • 4/19/2023Tokyo Ghost deluxe hardcover (co-created w/Murphy, featuring new cover art by Murphy)
  • 4/5/2023Deadly Class Book One deluxe hardcover (co-created with artist Wes Craig)
  • 4/5/2023Black Science: The Complete Story compendium trade paperback edition (co-created with artist Matteo Scalera featuring new cover art by Scalera)
  • 6/14/2023The Scumbag: The Complete Story deluxe hardcover(featuring various collaborating artists, cover by Greg Tocchini)
  • 6/28/2023Deadly Class Book Four deluxe hardcover (co-created with artist Craig)
  • 8/9/2023A Righteous Thirst for Vengeance deluxe hardcover (co-created with André Lima Araújo)
  • 11/8/2023Fear Agent Book One deluxe hardcover (co-created with artist Tony Moore & Opeña)
  • 11/15/2023Fear Agent Book Two deluxe hardcover (co-created with artist Moore & Opeña)
Tokyo Ghost

Review: A Righteous Thirst For Vengeance #6

A Righteous Thirst For Vengeance #6

Rick Remender and André Lima Araújo’s A Righteous Thirst for Vengeance is as much an exercise in pacing as it is in volume. Comics have an abstract sense of sound about them that range from blockbuster levels of loud to subtle drama levels of soft. An Avengers comic, for instance, doesn’t “sound” like a Batman comic, which in turn doesn’t have the same acoustics as a Saga or Criminal comic. There are a lot of variations in volume to be found in the medium. A Righteous Thirst for Vengeance has been a strong example of this and how it can impact storytelling. Issue #6 continues to expand on it.

The latest issue of the series keeps the volume low, so to speak, as Sonny finds himself living off the grid in a small makeshift encampment that’s as far away from technology as possible. The people who are after him live in a world where GPS pings and sign-in alerts make everyone easy to track, frighteningly so.

As a result, and after the events of the previous issue force Sonny and a small kid to go on the run, Remender and Lima Araújo decide to catch up with their characters with a kind ‘calm before the storm’ sensibility that sets up some potentially very bad things to come.

Remender and Lima Araújo do an excellent job of capturing the quietness that characterizes living in a vacuum of technology. This is what I mean when I refer to sound in the comic. There’s an intention behind capturing this kind of silence as it serves the story’s pacing and tone. It slows down the narrative so that the reader can consider the things that led up to Sonny’s current predicament without the distractions associated with our digital-heavy lifestyles.

A Righteous Thirst For Vengeance #6

The comic was already paced in a kind of moment-to-moment manner that kept things intimate and intense. Issue #6 lets us breath a little before getting back to the methodically tense chase that’s been taking place since issue #2 of the series.

The script, as has been the case so far, sticks to brief dialogue exchanges to keep things from devolving into longwinded sequences that deviate from the matter at hand. A Righteous Thirst is a very focused comic, something it has to be if it wants to sustain the different elements at play in its storytelling.

Lima Araújo’s art is equally focused and it’s where the comic plays the most with sound. Pages are never static and feature quick cuts to vistas, objects, and animals present in the environment that help populate the story with personality, not unlike how slower-paced movies are edited to create a contemplative atmosphere. It establishes a strong sense of place and it allows the reader to appreciate the settings the comic’s characters inhabit, down to the sounds that color the locations. Not many comics can lay claim to finding success in this and it has been quite the experience watching it all grow into deeper and more complex forms issue after issue.

A Righteous Thirst for Vengeance #6 is confirmation that the series is still on the right track and riding high. Each entry has been a surprise unto itself and #6 is no exception. It’s a comic that demands to not just be read, but also to be listened to.

Story: Rick Remender, Art: André Lima Araújo
Color: Chris O’Halloran Letters: Rus Wooton
Story: 9.0 Art: 9.0 Overall: 9.0

Recommendation: Read and then go watch some Criterion films for good measure.

People’s History of the Marvel Universe, Week 19: The Racial Problematics of “Snap Wilson”

As discussed last time, starting in Captain America and the Falcon #120, various Marvel writers[1] made a good deal of use out of the Falcon’s secret identity as Sam Wilson, social worker – Stan Lee used it as a vehicle for stories about youth problems, organized crime, and urban unrest (albeit ones that ended with costumed superheroes getting into punch-ups with similarly-attired supervillains), while Steve Englehart and Alan Weiss used it as a pretext to have Captain America and the Falcon investigate abuse in America’s prisons and encounter the Queen of the Werewolves.[2]

This changes in Captain America and the Falcon #186, where (in a follow-up to the original story that introduced Sam Wilson) the Red Skull reveals that everything we knew about Sam Wilson was a lie:

These four panels are worthy of some in-depth textual analysis. In the first, we see the young and innocent Sam Wilson on the rooftops of Harlem, complete with a thematic association between birds and freedom that we’ll later see embodied in his relationship with his falcon Redwing. (In future issues, this part of his backstory will be retconned to add in tragic violent crime-related deaths for both his mother and father that will inspire his vigilantism.) In the second, we see Wilson heading to Florida (like a lot of New Yorkers in the winter) only to be confronted with the specter of rural bigotry in Dade County, in a scene straight out of the shock ending of Easy Rider. By the third panel, we see that the experience has hardened our hero, and by the time that he gets to Los Angeles he’s learned to “get by” in the worlds of both street crime (as symbolized by the small crowd of black men standing on the corner) and organized crime (as symbolized by the white hand coming out of the car window). In the fourth panel, the transformation of Sam Wilson into “Snap” Wilson is complete – he’s now an L.A-based gangster complete with mob connections, a pimped-out Cadillac with vanity license plates, and some of the 70’s wildest fashions.

As we learn about on the next page, rather than arriving on the island of forbidden love as part of a vacation-turned-resistance-movement, “Snap” Wilson crash-landed on the island after attempting to hijack a small plane containing a “fortune” (presumably of drugs, given that the plane was returning from a trip to Latin America) belonging to the “Big Man,” his L.A-based crime boss.

More significantly, we learn that the social Sam Wilson that readers thought they knew was a creation of the Red Skull, a fiction specifically designed to appeal to Steve Rogers’ liberal values:

Steve Englehart, John Warner, and Frank Robbins had to lean heavily on the Cosmic Cube’s, well…cosmic powers here, because this is quite a retcon. Above and beyond the psychological impact on Wilson himself, the creative team had to explain how it was that we’ve seen Sam Wilson at work as a social worker – we’ve even seen his office with clients in it! – and it would be particularly odd for the Cube to somehow have also altered the memories of the entire “Social Admin” Department of New York City so that someone without official hiring paperwork or credentials would be given office space, a salary, and a caseload for several years.

This being a superhero comic, the retcon is then used by the Red Skull (once again using mind control) to pit the Falcon against Captain America in a lose-lose fight to the death. Naturally, Captain America triumphs and destroys the Red Skull’s HYDRA base, only for the Skull himself to flee to fight another day. Rather than resolving neatly in one issue like earlier “Cap goes evil” storylines, the dangling plot thread of “Snap” Wilson and the dueling backstories continues to dominate the book for the next several issues.

For example, in Captain America and the Falcon #189, Tony Isabella and Frank Robbins have Captain America once more fight Sam Wilson in a dubious SHIELD experiment to prove which is the real personality.

After a bunch of illusionary shenanigans, the Falcon snaps out of his “schizophrenic” state to reveal that, in fact, it is “Snap” Wilson who was the true personality and Sam Wilson who was the fake.

Tony Isabella, Bill Mantlo, and Frank Robbins would return to (and in their own words “bring to a close the end of an epic”) plot in issue #191, in which “Snap” Wilson is put on trial in Los Angeles County Court for the “importation and sale of illegal narcotics”: 

The Falcon is only saved from prison when, in a bid to prevent him from turning state’s witness against his former mob associates, the “Big Man” of Los Angeles hires, of all the many Marvel villains-for-hire, the Stilt-Man to attack the courthouse and assassinate the Falcon before he can testify. As one might guess, the ensuing action allows the Falcon to demonstrate his heroism to the judge, leading to a suspended sentence of parole (with Nick Fury of SHIELD standing in as his parole officer), thus demonstrating the fairness and mercy of the American court system when dealing with black defendants up on drugs charges in the first wave of Nixon’s War on Drugs.

The racial politics of this retcon are bizarre to say the least. The new “Snap” Wilson behaves like a quite different character than the one readers had known for sixty-nine issues: he’s more aggressive and violent both in interpersonal communication and combat, he uses stereotypical “jive” slang, and he’s far more cynical about white America and white institutions – an interesting departure for a character previously given to attempts at “cooling down” racial tensions. One could see it as an extrapolation of the “talker” versus “fighter” dynamic between Sam Wilson, social worker, and the vigilante known as the Falcon, if not for the charged nature of “Snap” Wilson’s gangster origin.

Two potential explanations for this change suggest themselves. The first is that we need to see this in the context of Marvel chasing the trend of blaxploitation, more prominently seen in the creation of the characters Luke Cage and Blade at around the same time. A streetwise gangster simply fits into the rather narrow schema of the blaxploitation genre better than a social worker out of a prestige “problem” film. However, Captain America and the Falcon was an established comic rather than a newer, more speculative venture like Power Man, and more importantly it was the comic of their flagship “flag suit” character, which tends to come with higher visibility and tighter editorial control within the company.

The second explanation, and one that has a certain amount of plausibility given that Cap #186 was authored by noted liberal Steve Englehart (just coming off of having Captain America go up against Richard Nixon), is that the retcon was prompted by a weird white liberal guilt trip that judo-flipped its way into being accidentally racist. Sam Wilson, as originally envisioned by Stan Lee, was an “articulate,” clean-cut, politically moderate black professional. It may have been argued at the time that the character of the Falcon was a paternalistically condescending bit of outreach to the black community from a bunch of white middle aged middle class folks at Marvel.  By contrast, a more “street” character, as we’ve already said more evocative of popular trends in black culture, who challenges the white establishment more consistently than before, may have been seen as a more “authentic” portrait of black masculinity in the 1970s. If so, it’s a very strange train of thought where an attempt to be racially sensitive boomerangs back around to being back-handedly racist.

The problem with this line of political logic is the question of representation. There’s nothing inherently wrong with an individual character having a backstory of coming from the “mean streets” of crime, but when you’re dealing with a situation in which there are very few characters of color in Marvel comics (especially back in the 1970s when the main struggle within Marvel was over introducing racial “firsts”), aspects of those characters become less individualized and more archetypal. When most if not all of Marvel’s black characters at the time came from “the street,” it starts to send a message that, according to Marvel creative and editorial (again, staffed almost entirely by white men), the “street” is where black characters come from. This becomes problematic when it means that having a black character with a different background – like, for example, a professional social worker – is seen as less “realistic” than an ex-hood.

So much for the “epic” of “Snap” Wilson. I know there are going to be some in the fandom who will say that, given the realities of a serial medium produced monthly over the course of almost fifty years by a variety of creative and editorial teams of varying levels of ability and care for the material, you’re going to get some bad stories worked in there. These stories – if left unchecked – can warp characters out of being usable recurring intellectual property, which is why retcons aren’t always a bad thing because they can right a sinking ship in the wake of a particularly ill-thought-out or poorly executed creative turn.

This is why, when we talk about the impact of a given story in comics, we can’t just talk about the aesthetic merit of a given panel or page or comic, but its longevity – did a given story have an enduring impression on the book and the larger Marvel Universe, or was it a flash in the pan that was swiftly cleaned up by the next team to work on the book?

The answer to that question is why the “Snap” Wilson retcon is such a big deal: it lasted for forty years, putting it up there as one of the longest-lasting retcons in Marvel history. It was the status quo when Steve Englehart left the book, it was the status quo when Jack Kirby returned to both write and draw the book (more on that in a future issue), it was the status quo for Mark Gruenwald’s classic run in the 80s, and it was the status quo for Ed Brubaker’s run that set the terms for the MCU Captain America films.

It wouldn’t change until 2015, when as part of the Avengers NOW! event[3] Sam Wilson was promoted to the role of Captain America for the first time (although not the first time that he’d worn the uniform) – a creative and editorial decision that would ultimately give rise to the Disney+ Falcon and Winter Soldier show. In All-New Captain America #3, intending to discredit as well as kill the new Captain America, Sin (the Red Skull’s daughter) and HYDRA engages in information warfare by releasing to the public the sordid details of “Snap” Wilson’s past:

To a significant extent, Remender designs All-New Captain America #3 to be in dialogue with Englehart’s Captain America and the Falcon #186 – no less than three pages out of the book are devoted to a beat-for-beat reproduction of the story of the Red Skull using the Cosmic Cube to re-write Sam Wilson’s backstory, for example. The major difference is that, rather than staying in a mind-controlled silent stupor while Steve Rogers plays the interlocutor to the Red Skull, here Sam Wilson is allowed to speak and he challenges Sin’s characterization of his past as a “liar, thug, and gangster” as “lies.” (Remender does his own editorializing by characterizing the “Snap Wilson” backstory as a “smear campaign” and presenting Sin as clearly an unreliable narrator given to monologuing about the victors rewriting history to suit their interests.)

In foiling both Sin’s smear campaign and (somewhat more importantly) her bomb plot, Sam Wilson defiantly asserts a brand-new status quo for his own backstory:

While Rick Remender is a writer whose politics I haven’t always agreed with – only two years before this issue, Remender had written Uncanny Avengers #5, which featured the now-infamous “M word” speech, and then reacted extremely poorly to criticism over how this speech handled the topic of minority identities and the mutant metaphor – I think he was on the right track in this case.

As I’ve suggested above in discussing the question of representation, “ex-gangster from the mean streets” was already something of a “tired stereotype” back in 1975, and it was only more of one in 2015 when you consider the increase in the raw numbers of African-American characters in big two comics, given how many of those new characters had been given “street” backgrounds themselves. By contrast, there is something innovative about a social worker backstory not just from the perspective of African-American characters but superheroes in general: whereas most heroes with secret identities are cops, private detectives, reporters (because those professions involve being “nosy” and thus lend themselves to story hooks involving investigations), or scientists (which lends itself to super-science story hooks), there really aren’t that many heroes who belong to one of the “caring” professions. As we discussed back in Week 18, social workers have a unique perspective on social phenomena, while still giving rise to sixty issues worth of story hooks.

Ultimately, however, the question of whether a given character’s backstory is innovative or stereotypical is rather subjective. Which is why the subjectivity of the creative and editorial teams matters – and why it mattered that for so long that the teams working on Captain America and the Falcon were all-white (as well-meaning as they might have been). Had there been more diversity in the room at the time, black creators might have been able to push back on the “Snap” Wilson retcon from the beginning instead of having to wait forty years for a white creator to decide it wasn’t all right.  


[1] Between Cap #120 and #186, there wasn’t a regular artist on the book on issues covering Sam Wilson as a social worker: artists ranged from Gene Colan on #120 and 134 to John Romita Sr. on #139 to Sal Buscema on #149 to Alan Weiss and John Romita Sr. on #164.

[2] A story notable for being the first but by no means the last time that CapWolf became a part of Marvel Comics. More on that in a future issue of People’s History of the Marvel Universe.

[3] Itself a continuation of the All-New Marvel NOW! event from 2013, which itself was a continuation of Marvel NOW! from 2012, but which shouldn’t be confused with All-New, All-Different Marvel which would launch later in 2015, eventually giving rise to the Secret Empire event. Needless to say, Marvel editorial hasn’t exactly made things easier for comics historians in their naming conventions in recent years.

A Righteous Thirst for Vengeance Recruits an Impressive Cover Lineup

Image Comics has revealed a fleet of stunning variant covers by superstar artists Bengal, Farel Dalrymple, Sanford Greene, Tula Lotay, and Rafael Albuquerque for the highly anticipated launch of A Righteous Thirst for Vengeance by writer Rick Remender, artist André Araújo, and colorist Chris O’Halloran. The series will kick off this October.

When an unassuming man stumbles upon a dark-web contract assassin’s vicious plot to kill an innocent target, he turns himself into one. The Professional meets Road to Perdition in this story of a family’s unlikely guardian being hunted by rich and powerful men who are used to getting away with everything.

A Righteous Thirst for Vengeance #1 will be available at comic book shops on Wednesday, October 6:  

  • Cover A by Araújo & O’Halloran – Diamond Code AUG210041
  • Cover B by Bengal – Diamond Code JUL219439
  • Cover C by Dalrymple – Diamond Code JUL219440
  • Cover D 1:10 copy incentive by Greene – Diamond Code JUL219441
  • Cover E 1:25 copy incentive by Lotay – Diamond Code AUG210042
  • Cover F 1:50 copy incentive by Albuquerque – Diamond Code JUL219442

Z2 Comics and Anthrax’s Among the Living is Out in July

Since the first announcement of the upcoming graphic novel inspired by the titans of thrash metal’s landmark 1987 album, the project has remained one of the most anticipated releases of the year. It’s been announced that the Among the Living graphic novel will be released in stores everywhere on July 6! In an effort to support the comic book specialty market, which had been hardest by the COVID-19 health crisis of the past year, Anthrax and Z2 shipped a surprise limited number of copies early, with stores able to put out for sale this week!

The project pulls together a who’s who of names from around comics and music for a track-by-track storyline inspired by one of heavy metal’s most iconic albums with all four members of the classic Anthrax lineup contributing!

An anthology narrated by longtime mascot “The Not Man” newly designed by Greg Nicotero (The Walking Dead) and written by Jimmy Palmiotti (Harley Quinn, Blondie: Against the Odds) and illustrated by classic Aliens artist Nelson; Among the Living unites bandmembers Joey BelladonnaFrank BelloCharlie Benante, and Scott Ian, with writers, artists, and other rock legends in a tribute to their landmark 1987 album, featuring covers by JG JonesEric Powell, and a preorder variant from Charlie Benante. Additional interior art and chapter breaks by SawbladeBrian Ewing, and Josh Bernstein.

Scott Ian will contribute an original story inspired by the fan favorite anthem “I Am the Law,” featuring the legendary comic book antihero Judge Dredd, in partnership with 2000 AD. This will make official the decades long connection between the character and the band, rewarding comic book fans and metalheads alike, and features art by longtime Dredd artist Chris Weston.

The full lineup can be found below:
1- Among the Living 
Writer: Brian Posehn
Artist: Scott Koblish and Alladin Collar

2- Caught in a Mosh 
Writer: Gerard and Mikey Way
Artist: Darick RobertsonPhillip Sevy and Alladin Collar

3- I Am the Law (featuring Judge Dredd)
Writer: Scott Ian
Artist: Chris Weston and Alladin Collar

4- Efilnikufesin (N.F.L.)
Writer: Rick Remender and Joe Trohman
Artist: Roland Boschi and Dan Brown

5- A Skeleton in the Closet 
Writer: Corey Taylor
Artist: Maan House

6- Indians 
Writer: Grant Morrison
Artist: Freddie Williams II and Andrew Dalhouse

7- One World  
Writer: Frank Bello
Artist: Andy Belanger and Tatto Caballero

8- A.D.I./Horror of It All
Writer: Brian Azzarello
Artist: Dave Johnson

9- Imitation of Life
Writer: Rob Zombie
Artist: Erik Rodriguez and Steve Chanks

Review: Deadly Class #45

Deadly Class #45

Even though it’s been several years since his trauma-filled days as a pretentious douchebag at King’s Dominion Atelier for the Deadly Arts, Marcus Lopez Arguello is still full of shit, literally and metaphorically in Deadly Class #45. The new arc of Rick Remender, Wes Craig, and Lee Loughridge’s teen assassin comic picks up in 1991, and you can be sure that Marcus has some unsolicited opinions about grunge music that ends up taking too much of the comic’s running time. However, he meets/grooms a girl named Dawn, who deconstructs his opinions and mansplaining and of course, they end up hooking up. I’m really ready for Marcus/the comic to be put out of its misery.

However, before talking about how insufferable Marcus is, and how I smile at his shitty existence reading Matt Groening comics in a bathroom and telling uninterested girls about the difference between geek and nerd, I have something positive to say about Deadly Class #45. And that’s even though the book has gone by the wayside by deciding to focus on its very unlikable protagonist instead of a diverse ensemble cast like in its previous arc, Wes Craig and Lee Loughridge bring their A-game on the visuals.

Craig’s cut-up panels and Loughridge’s red and black against insets of Marcus’ morning routine show up his fucked up mental state, and why he ends up getting an enema. One thing I’ve loved about Wes Craig’s art on Deadly Class is how he uses different inking styles to convey different moods like lush brush strokes for Marcus and Dawn kind of to the chaotic slinging of the issue’s climax where he becomes John Wick sponsored by Pitchfork.com. Loughridge’s palette gets dirtier during this scene going from flat background colors for Marcus’ new suburban digs to something with a little more edge as befitting a protagonist covered in a blood with an enema up his ass.

Despite Craig and Loughridge firing on all cylinders, Deadly Class #45 is a slog to get through because even after 45 issues of trials and tribulations, he’s really an insufferable character. I miss when he wanted to assassinate Ronald Reagan. Unlike most real life annoying nerds/hipsters, he’s definitely had a rough life, but his treatment of women and propensity for never shutting the hell up makes him a character that I don’t want to spend a lot of time around. In past issues of Deadly Class, Rick Remender got around this by surrounding him with an interesting ensemble cast of characters. However, no one except Dawn even rates a second glance in Deadly Class #45, and they’re all kids who want to party with his drugs, an annoying boss, or people who want him dead. When Marcus was “dead” for an arc, Remender and Wes Craig did an excellent job creating a new cast of King’s Dominion students to replace him as the series’ lead, and the book could really use some of that magic now.

Because there’s so much dialogue and overwrought narrative captions, Deadly Class #45 never gets to settle into Marcus’ emotional state during the time skip. Ennui isn’t really visually interesting, but Remender only works in long one-sided conversations, broad humor, and bold action. (The third one is fine.) He’s too busy catching up readers on Marcus’ opinions of different bands and driving the point home that he’s an outsider even though he likes Todd McFarlane’s Spider-Man. Throughout Deadly Class, Remender and Craig have used bands and fashion as a kind of verbal and visual shorthand to introduce characters before really getting to know them via their choices, schemes, and how they interact with others. But Marcus is the protagonist so maybe we should have gone beyond that. His interactions with Dawn and general apathy has shown that he hasn’t grown much as a character and honestly regressed since the early days of Deadly Class.

Although Wes Craig and Lee Loughridge continue to bring the stylish visuals that drew me to Deadly Class way back in 2014, Deadly Class #45 is basically mansplaining the comic and squanders its new setting and status quo. It’s definitely not a good jumping on point and made me realize I’m only following the title because of sunk cost fallacy.

Story: Rick Remender Art: Wes Craig
Colors: Lee Loughridge Letters: Rus Wooton

Story: 5.0 Art: 8.0 Overall: 5.8 Recommendation: Pass

Image Comics provided Graphic Policy with a FREE copy for review


Purchase: comiXologyKindle Zeus ComicsTFAW

Tokyo Ghost Gets Adapted by Legendary with Cary Fukunaga Directing

From comic page to big screen, Tokyo Ghost is being adapted into a film with Cary Fukunaga directing. Fukunaga is the director behind the eagerly awaited James Bond entry, No Time to Die. Legendary Entertainment is the studio developing the film.

Based on the comic series by writer Rick Remender artist, Sean Gordon Murphy, letterer Rus Wooton, and colorist Matt Hollingsworth the comic series was published by Image Comics. Remender will pen the film project.

Tokyo Ghost is set in 2089 when humanity has become addicted to technology. It’s a way to escape reality. Two peacekeepers are given a job that takes them to the tech-free nation of Tokyo, the last tech-free country on Earth.

Tokyo Ghost was originally released in 2015 and lasted ten issues. The 10 issues were then released in two volumes as well as a deluxe edition featuring all ten issues.

Tokyo Ghost

Anthrax’s Among the Living Full Lineup Revealed

Among the Living

The Among the Living graphic novel pulls together a who’s who of names from around comics and music for a track-by-track storyline inspired by one of heavy metal’s most iconic albums, with the full creative lineup announced today.
 
An anthology narrated by the longtime mascot “The Not Man” newly designed by Greg Nicotero and written by Jimmy Palmiotti and illustrated by classic Aliens artist Nelson; Among the Living unites bandmembers Joey Belladonna, Frank BelloCharlie Benante, and Scott Ian, with writers, artists, and other rock legends in a tribute to their landmark 1987 album, featuring covers by JG JonesEric Powell, and a preorder variant from Charlie Benante

As previously announced, Scott Ian will contribute an original story inspired by the fan-favorite anthem “I Am the Law,” featuring the legendary comic book antihero Judge Dredd, in partnership with 2000 AD. This will make official the decades-long connection between the character and the band, rewarding comic book fans and metalheads alike, and features art by longtime Dredd artist Chris Weston.
 
The full lineup can be found below:

1- Among the Living 
Writer: Brian Posehn
Artist: Scott Koblish and Alladin Collar

2- Caught in a Mosh 
Writer: Gerard and Mikey Way
Artist: Darick Robertson and Diego Rodriguez

3- I Am the Law (featuring Judge Dredd)
Writer: Scott Ian 
Artist: Chris Weston and Alladin Collar

4- Efilnikufesin (N.F.L.)
Writer: Rick Remender and Joe Trohman
Artist: Roland Boschi and Dan Brown

5- A Skeleton in the Closet 
Writer: Corey Taylor 
Artist: Maan House 

6- Indians 
Writer: Grant Morrison 
Artist: Freddie Williams II and Andrew Dalhouse

7- One World  
Writer: Frank Bello 
Artist: Andy Belanger and Tatto Caballero

8- A.D.I./Horror of it All
Writer: Brian Azzarello 
Artist: Dave Johnson

9- Imitation of Life
Writer: Rob Zombie 
Artist: Erik Rodriguez and Steve Chanks

This graphic novel event of the year will be released in finer comic shops and bookstores on May 12 and is available to preorder with your favorite retailer now. Exclusive deluxe and super deluxe editions packaged with special vinyl and more are available to order directly from Z2’s website now, with Charlie Benante’s Judge Dredd variant exclusive to Z2 preorders of the standard edition!

All Four Members of the Classic Anthrax Lineup Will Contribute to the Among the Living Graphic Novel

Last fall, Z2 Comics announced an upcoming graphic novel inspired by Anthrax, the titans of thrash metal’s landmark 1987 album. The Among the Living graphic novel pulls together a who’s who of names from around comics and music for a track-by-track storyline inspired by one of heavy metal’s most iconic albums. All four members of the classic Anthrax lineup will contribute to the upcoming graphic novel, with Frank Bello writing a chapter, and Joey Belladonna penning the foreword.

An anthology narrated by longtime mascot “The Not Man” newly designed by Greg Nicotero, Among the Living unites bandmembers Joey Belladonna, Frank Bello, Charlie Benante, and Scott Ian, with writers Brian Azzarello, Grant Morrison, Jimmy Palmiotti, Brian Posehn, Rick Remender, Corey Taylor, Joseph Trohman, Gerard and Mikey Way, and Rob Zombie, with more to be announced. Artists include Roland Boschi, Maan House, Dave Johnson, Scott Koblish, Darrick Robertson, and Erik Rodriguez, and more, with covers by Charlie Benante, JG Jones, and Eric Powell. As previously announced, Scott Ian will contribute an original story inspired by the fan-favorite anthem “I Am the Law,” featuring the legendary comic book antihero Judge Dredd, in partnership with 2000 AD. This will make official the decades-long connection between the character and the band, rewarding comic book fans and metalheads alike.

Among the Living

Z2 and Anthrax are Among the Living

Among the Living

Just ahead of the Thanksgiving holiday, Z2 gives music fans something to celebrate with news of one of the publisher’s most ambitious projects yet! The Among the Living graphic novel pulls together a who’s who of names from around comics and music for a track by track storyline inspired by one of heavy metal’s most iconic albums! Today’s announcement brings news that Anthrax has teamed with the publisher of music tie-in graphic novels to assemble an all-star cast of famous fans to bring the band’s breakthrough album to the printed page for the first time!

An anthology narrated by the longtime mascot “The Not Man” newly designed by Greg Nicotero; Among the Living unites Charlie Benante and Scott Ian with writers Brian Azzarello, Grant Morrison, Jimmy Palmiotti, Brian Posehn, Rick Remender, Corey Taylor, Joseph Trohman, Gerard and Mikey Way, and Rob Zombie, with more to be announced. Artists include Roland BoschiMaan House, Dave Johnson, Scott Koblish, Darrick Robertson, and Erik Rodriguez, and more, with covers by Charlie Benante, JG Jones, and Eric Powell. Bandmembers Benante and Ian will collaborate on an original story inspired by the fan favorite anthem “I Am the Law,” featuring the legendary comic book antihero Judge Dredd, in partnership with 2000 AD. This will make official the decades-long connection between the character and the band, rewarding comic book fans and metalheads alike!

This extensive project will be offered in multiple formats, with deluxe and super deluxe editions inclusive of special picture disc vinyl, an exclusive MadBalls™ toy, art prints, and even a gold record plaque! All editions are available to order directly from Z2’s website now, with Charlie Benante’s Judge Dredd variant exclusive to preorders of the standard edition!

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