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The Perhapanauts Return in November through Scout Comics’ Black Caravan Imprint

There are places in this world where the fabric of reality has worn thin, where strange and terrible creatures have crossed over to lurk in the shadows and the night.There is an organization dedicated to finding these creatures and  sending them back whence they came, sealing the rift behind them and protecting mankind from horrors unseen.The organization is called BEDLAM. Its agents are… THE PERHAPANAUTS! A BIGFOOT. A MOTHMAN. EL CHUPACABRA. A GHOST. Join our team of incredible cryptids as they travel to the four corners of this world where they encounter even more weird and bizarre creatures from folklore, myth, and local legend! #paranormal, #cryptozoology, #meninblack, #talkingweasel

The Perhapanauts is by writer Todd Dezago with art by Craig Rousseau. It comes to shelves November 2020 through Scout ComicsBlack Caravan imprint.

The Perhapanauts

Atlantis Wasn’t Built for Tourists #1 and It Eats What Feeds It #2 Get Second Prints

Two more Scout titles are going back to the press and are now available for preorder! Atlantis Wasn’t Built For Tourists #1 and It Eats What Feeds It #2 are each getting second printings.

Lovecraft meets Sergio Leone in a modern tale of corruption, family legacies, and nightmarish dread. Lucas Lewis drifts into Atlantis County, Oregon wanting nothing more than a hot meal and a soft bed for the night. What he finds instead is a small town in thrall to eldritch creatures lurking in the surrounding wilderness, possibly guided by an even more sinister force. Lucas becomes determined to eradicate all Atlantis’s demons, but these monsters are not what they seem. Unfortunately for the monsters, neither is Lucas.

Atlantis Wasn’t Built For Tourists #1 is written by Eric Palicki and art by Wendell Cavalcanti.

Atlantis Wasn't Built For Tourists #1

A few weeks into his new job, Kenny has completely fallen for Francois. He spends his days caring for her property and sliding raw meat through the attic door, while spending his nights tending to Francois’ needs in the bedroom. But late one evening, Francois’ illness gives rise to a painful episode, leading her to desperately send Kenny on a mysterious errand to a rugged bayou bar. What secret elixirs lie at the bar? Does Francois’ illness connect to what lurks behind that attic door?

It Eats What Feeds It #2 is written by Max Hoven with art by Aaron Crow and a cover by Gabriel Lumazark.

It Eats What Feeds It #2 2nd printing

Preview: North Bend #5

North Bend #5

Ryan Ellsworth (w), Pablo De Bonis (a)(c)

Annie comes back into the CIA fold, ramping up the “chemical weapons” aspect of the MK Ultra project. Meanwhile, Leon proves to be a valuable asset to Brendan after he’s given the chance to work directly with Lamar Olivier, leader of the Crusaders. Brendan gets closer to being exposed after Jamie’s investigation leads her to a victim of his drug testing. Finally, Brendan delivers Annie’s weapon to an unsuspecting public with devastating results – and gets a taste of his own medicine.

North Bend #5

Scout Comics To Launch All Ages Imprint SCOOT! in January 2021!


Scout Comics & Entertainment, Inc. proudly announces the launch of Scoot!, an imprint devoted to young readers ages four to twelve in January 2021. Richard Rivera, writer/creator of Stabbity BunnyShadow Play, and Storm Pirates, has come aboard as Associate Publisher with Wayne Hall serving as Editorial Director.  Scoot! will present an international collection of titles aimed at entertaining young readers by celebrating the fun, excitement, and pure joy that can thrive in comics.  With a focus on diversity and educational value, the imprint will appeal to parents as well as kids.

Scoot!’s initial launch titles will include: Unikorn by Don Handfield and Joshua MalkinSengi and Tembo by Guiseppe Falco; Soulstream by sixteen-year-old Saida Woolf; and Mapmaker by Ben Slabak and Francesca CaritaRichard Rivera‘s and Dwayne Biddix‘s Wild Bull and Chipper will also be joining the lineup. Several other titles are currently being negotiated, and the imprint is aiming to grow quickly.

These titles are already getting attention as Scout Comics has shared that Armory Films is gearing up to produce Unikorn. Creators Don Handfield and Joshua Malkin are adapting their graphic novel to the big screen, and the film will mark celebrated, in-demand editor Debbie Berman’s first effort behind the camera.

Debbie Berman Steps Behind the Camera for Scout Comics’ Unikorn


Rising independent production company Armory Films is gearing up to produce Unikorn, a feature adaptation of Don Handfield and Joshua Malkin’s original graphic novel which Armory developed and financed with Handfield and that Scout Comics is publishing in early 2021.

The film will mark celebrated, in-demand editor Debbie Berman’s (Black Panther, Spider-Man: Homecoming, Captain Marvel) first effort behind the camera.

In Unikorn, Maeve “Mae” Everhart inherits Percy, an old horse with a strange nub in the center of his forehead that makes her believe it’s a unikorn – a unicorn with a broken horn. Mae soon discovers the horn was removed for a reason – to keep Percy safe from those would exploit or harm him. Mae must find the unicorn’s broken horn and prove to her skeptical father that her horse really is magical before everything she cares about is lost forever

Unikorn is based on the graphic novel by Handfield and Joshua Malkin, which they have adapted for the screen, and will be produced by Armory’s Lemole and Zajaros, and Handfield.

Debbie Berman is most well known for her work as an Editor on Black Panther, which is the first superhero film ever to be nominated for several Academy Awards® (including Best Picture), and winner of 3.

Debbie is one of the very few women working on big-budget features and has had a meteoric career rise over the last couple of years.  This began with her first foray into Marvel Studios editing Spider-Man: Homecoming.  This film was critically and commercially acclaimed and reinvigorated the franchise to become 2017’s top-grossing superhero film.

She then worked on Black Panther, which is nothing less than a cultural and film phenomenon.  It received a 97% on Rotten Tomatoes (Marvel Studio’s highest-scoring film), made $1.2 billion worldwide, and is one of the top-grossing films of all time. Using her unique life experience of being born and raised in Africa, Debbie was able to help ensure the authenticity of Marvel’s first film set on the continent.  One of her major contributions was to guide the narrative and the performances in a way that accentuated a multitude of powerful, interesting and inspiring female characters.

Debbie’s third film in a row at Marvel Studios was Captain Marvel.  It is the first female led film in their cinematic universe.  It grossed over a billion dollars within its first month of release, had the biggest worldwide opening weekend for a female led film, set the worldwide opening weekend record for a solo superhero film, and is the highest grossing female superhero film of all time.

Debbie was selected as one of Variety’s ‘Artisans Elite’ in 2018, and is now in high demand as one of the most exciting new talents in Hollywood.

Don Handfield is the co-creator of the History Channel drama series Knightfall. This is the fourth comic series he has sold or optioned to television. His first comic series THE RIFT was picked up by Steven Spielberg and Amblin Entertainment, and lensed as the season finale of the recent Amazing Stories anthology reboot on Apple +, for which he also co-wrote the teleplay. Handfield has several other properties in active development at various companies including the upcoming YA graphic novel Loot, The Mall also from Scout Comics and The Dark Age published by Red 5 comics.

Handfield developed and produced The Founder starring Michael Keaton and Kill the Messenger starring two-time Academy Award® nominated actor Jeremy Renner, with whom Handfield co-founded their production company The Combine.

Joshua Malkin (Cabin Fever 2) has written feature projects for Sony, Fox, Cross Creek, Warner Brothers and Universal Pictures and is repped by Echo Lake Entertainment.  Together, Malkin & Handfield co-wrote the top-selling comic series The Source, also for Scout Comics.

Scout Comics is launching SCOOT!, their new Kids & Teens division with the publication of Unikorn.

Review: Wretches Vol. 1


Wretches is a high octane science-fiction adventure published by Scout Comics. The first six issues of the series are now available in trade paperback. The plot of Wretches is like a cross between Blade Runner and Taken, but with a badass female protagonist. The storylines also reminded me of the novel that inspired Blade Runner, Philip K. Dick’s seminal “Do Androids Dream of Electric Sheep?” Some of the same themes are examined in the comic as in that novel, but with a backdrop of nearly non-stop action.

Created and written by James E. Roche, Wretches features complex storytelling. There are a lot of characters in play, but the main storyline focuses on sibling bounty hunters Sean and Shea. Even though Shea is a fictional character, I couldn’t help envying her abs and admiring her tenacity. I was very impressed with the interconnected storylines in this first arc. Roche’s narrative is full of shifting alliances and the resulting triumphs and betrayals. Roche also achieves an impressive amount of world-building in a limited number of pages. The scale of the setting is grand while the character interactions are satisfyingly intimate.

Salo Farias‘ artwork caught my attention within the first dozen pages. The comic opens with a chase scene that is superimposed over flashback images of Shea and Sean’s past. These overlapping images also blend well with the narration text boxes. There’s another well-plotted sequence in the third chapter where two scenes are depicted simultaneously. The panels on the left side of the page show one scene while the panels on the right show the other. These are just two examples of the synchronicity between Roches’ script and Farias’ artwork. However, there was one minor disconnect in their collaboration. There were times that I had difficulty telling a few of the robot characters apart.

I also really liked the architecture of the buildings. The structures look futuristic while still being obviously functional. The buildings aren’t bright and shiny either. Through Farias’ detail work the reader can see that the buildings have become worn by the planet’s elements and in places have fallen into disrepair. The robot’s encampment, an arrangement of decommissioned and interconnected spaceships was visually and architecturally interesting as well. Having finished the first volume of Wretches, I hope the series continues on from here. Roche has created a world rich with potential for more tales of sci-fi adventure. Hopefully this isn’t the last we’ll see of Sean and Shea.

Story: James E. Roche Art: Salo Farias
Colorist: Chunlin Zhao Letterer/Editor: Chas! Pangburn
Story: 9.0 Art: 9.5 Overall: 9.3 Recommendation: Buy

Scout Comics provided Graphic Policy with a FREE copy for review

Purchase: Scout Comics

Join Frank at Home on the Farm in November from Jordan Thomas, Clark Bint, and Scout Comics

Frank At Home On The Farm is a period, body-horror, mystery that tells the story of a man returning from the First World War to find his family mysteriously missing from their farm. This sets in motion a series of events that claw and tear at Frank’s mind, body, and soul.

Tormented by nightmares of the front line, the mysterious voices that plague him and disturbed by the townsfolk’s lack of knowledge or interest in his family’s whereabouts, Frank becomes more and more isolated on the farm as he tries to uncover where his parents have vanished to… all under the watchful eye of the farm’s animals.

From writer Jordan Thomas and artist Clark Bint, Frank At Home on the Farm is being published by Scout Comics in November.

Frank At Home On the Farm

Scout Comics’ Vlad Dracul #1 and #2 Get Second Prints

Scout Comics has announced that the first two issues of Vlad Dracul have sold out and are going back to print. They both will be released in late September and will be available for preorder now. The series is written by Andrea Mutti and Matteo Strukul with art by Mutti.

Vlad Dracul II, the Impaler, the Son of the Dragon, was a Warlord, a Voivod, a Guardian Warrior, an iconic historical figure who was able to successfully strike fear into the hearts of the fearsome Ottoman Empire. Vlad is an epic story of love and war, a historical ride with rivers of blood, tears, swords and love and a discovery of a man that was, perhaps, the most famous warrior of his era that inspired the Dracula legends. This is the story of the man behind the myth.

Review: Yasmeen #2

An absolutely amazing debut has only gotten better in Yasmeen #2. The story follows Yasmeen as she attempts to settle in her new country while dealing with the torture she experienced at the hands of ISIS.

Story: Saif A. Ahmed
Art: Fabiana Mascolo
Letterer: Robin Jones

Get your copy now! To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

Scout Comics

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Review: Yasmeen #2

Yasmeen #2
Yasmeen #2, Scout Comics

Saif Ahmed’s and Fabiana Mascolo’s Yasmeen is in many respects a story about the painful process behind coming of age. Focusing on a girl (the titular Yasmeen) living during the ISIS invasion of Mosul, Iraq first and then years later as a refugee in America, the comic is nothing short of a visceral exploration of how unfair and even profoundly violent change can be.

This is made clear in the first issue of the six-part series. The second entry of the story dives deeper into these ideas, but it takes the opportunity to say something different about coming-of-age stories: they’re not universal.

A staple of YA literature, the coming-of-age story deals in transformation, maturity, and acceptance, all brought upon by a particular set of internal and external challenges. It’s such a flexible narrative template that it’s easy to apply to different types of characters going through a variety of self-identity trials. The emphasis is on seeing how characters grow up and how they accept themselves for who they are, imperfections and all.

Yasmeen’s take on this puts the focus on context and the uniqueness of its circumstances. Growing up during an invasion only to migrate to another country and face the stereotypes and misconceptions of one’s own culture from other groups of people is quite simply on a level all of its own. It’s unique and hard to relate to if the reader does not share in the same experience, or has at very least experienced something similar to it. And yet, what makes this story special is that it wants to help readers understand it, regardless of difficulty.

Yasmeen #2 is where the series hits its stride with its simultaneous approach to storytelling. Yasmeen looks to settle into a normal in her new American life in the present timeline while trying to survive in her new role as wife to a man that acquired her after being separated from the family in the past timeline. The exchange between both timelines is relentless, but it is serves a purpose. In Yasmeen coming of age is a constant, never a phase one can conquer and then move on. It leaves scars.

Yasmeen #2, Scout Comics

For Yasmeen, the memories of the past compromise her ability to adapt to the present. But the present brings challenges of its own. She is surrounded by kids of her same age going through their own coming-of-age woes, but their experiences are worlds apart and reconciling those differences is proving quite the challenge. The book’s art captures this with uncomfortable clarity and inventiveness.

Fabiana Mascolo again does an excellent job of dealing with traumatic imagery without being explicit. The lead up to violence or images of abuse is tense and uncomfortable but knows precisely when to change gears into other sequences. It’s also worth mentioning that Mascolo’s facial expressions tell stories of their own. They invite close study to get the most out every character.

The script deftly raises the intensity between the two timelines in this issue, making for a harder-hitting issue than the first one. Things move faster and the terrors of the past face stronger competition from the struggles of student life in America. The change in environments are skillfully managed and always manage to keep each time period in conversation with one another. There’s a sequence in which Yasmeen is surrounded by ghostly images of the ISIS takeover while walking down her school’s cafeteria that is something to behold. It’s deeply haunting and it captures the spirit of the book perfectly.

The second issue of Yasmeen braves unsettling and rough terrains, full of terrible things. But as is the case with the first issue, hope still manages to carve out some space for itself. There’s a lot of darkness still, but the promise of light at the end of the tunnel is there. I don’t expect that light to be all-powerful or all-healing, but I’m intrigued as to what it offers to Yasmeen.

Story: Saif Ahmed Art: Fabiana Mascolo
Story: 9.0 Art: 9.0 Overall: 9.0
Recommendation: Buy and then read Graphic Policy’s interview with the writer.

Scout Comics provided Graphic Policy with a FREE copy for review

Purchase: Scout Comics Store

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