Tag Archives: tony bedard

Review: Wonder Woman/Tasmanian Devil Special #1

WWTazCoverWonder Woman fights and then teams up with the embodiment of chaos from Down Under, The Tasmanian Devil, in the latest DC/Looney Tunes crossover Wonder Woman/Tasmanian Devil #1. Tony Bedard’s script for the main story starts out serious and then gets kind of adorable as Diana and Taz start to bond. Artists Barry Kitson and John Floyd depict the Labyrinth, various monsters, and Taz’s classic whirling dervish moves with great care while colorist Lovern Kindzierski uses some magical purples for their shared enemy, Circe. But the real highlight of the comic is the Looney Tunes’ hilarious and satirical take on the Trojan War courtesy of Bedard and Flintstones artist Ben Caldwell in the backup story.

However, the main story from Bedard, Kitson, and Floyd is no slouch. It’s a classic mythical quest story meets mismatched buddy comedy. Bedard takes a page out of the Pizza Dog issue of Hawkeye and has Taz communicate his intentions with images and not words except for a really dramatic part of the story. And because Amazons speak hundreds of languages, Diana can speak to him too even though the rest of the world sees him as a dumb, dangerous beast that is to be avoided at all costs. Instead of killing him to get a trophy and beat one of her Amazon training challenges, she negotiates with him and promises him a feast in return for help and takes one of his horns while sleeping. This isn’t the most ethical behavior.

However, Bedard uses the non-linear nature of the plot in Wonder Woman/Tasmanian Devil to show Diana’s development as a woman and a hero. This time she uses her Golden Lasso to promise to give Taz his long awaited feast, and the buddy adventure part of the story begins. Whereas in the past, Diana was more insecure as the only young person on Themiscyra, she is more sure of herself in the present as well as being a better negotiator and warrior too. The journey of Diana and Taz through the labyrinth is the most fun stretch of the story with Kitson using layouts that mimic a maze, and Lovern Kindzierski making the Minotaur as dark as his completely evil heart. Plus there is Taz’s image based “dialogue” that adds some humor to what could just be a mythology influenced adventure yarn. The whole turning to stone plot is very cliched, but it’s pretty fun to see Taz do his tornado thing with a group of trolls, who are working for Circe.

Taz and Diana have a connection because she “stopped” him with music when she faced him as a young woman instead of trying to beat the crap out of him. And, of course, after he has devoured the Amazon’s feast, he wants to hear her sing. And her song is the Looney Tunes’ (plus Wonder Woman) take on the Trojan War courtesy of Bedard and artist Ben Caldwell.

Honestly, I could read a whole single issue of the Trojan War with these characters plus some modern day satire with Elmer Fudd’s Priam standing in for Donald Trump, and Troy for his much-vaunted border wall. (Of course, the Trojan Horse is a pink pinata.) Bedard and Caldwell also poke fun at the gender disparity in classic stories and manage to rhyme “cuckold and duckold” with Daffy Duck putting in an underrated performance as Menelaus. Some of the key players in the Iliad and Odyssey show up, including Odysseus and Achilles, and Bedard’s “casting” is spot-on even if Helen and Paris get most of the panel time. It’s also tied into classic Looney Tunes rivalries like Roadrunner and Wile E. Coyote.

And since the feast in Themiscyra is in Taz’s honor, the traditional Trojan War story takes a bit of a chaotic twist. However, it makes the backup story and the whole Wonder Woman/Tasmanian Devil Special that much endearing as Tony Bedard, Barry Kitson, and company start with the horror of Diana being hunted by Taz and end up in riotous comedy of them feasting and poking fun at the Trojan War.

Story/Backup Story: Tony Bedard Pencils: Barry Kitson
Inks: John Floyd Colors: Lovern Kindzierski
Backup Art: Ben Caldwell

Story: 8.5 Art: 8 Overall: 8.3 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review

Review: Suicide Squad/Banana Splits Special #1

Tony Bedard gives us the mash up that we never saw coming, we get a shove back into the way back machine for this very special “Suicide Splits” comic. The Banana Splits are way before my time but, that doesn’t make this issue any less enjoyable to me. I was drawn in for the Suicide Squad and stayed for the animal rescue team that Amanda Waller provided to help the Squad out of a jam. It’s all fun and games until there’s an ambush in a Forrest and some rogue robot factory.

Ben Caldwell‘s penciling and Mark Morales’ ink work provide the perfect jump off point for Jeremy Lawson‘s insane color palette. There’s darkness when there needs to be, a little bit of Reservoir Dog stylization and some seriously fun pop color, cartoon-like artwork for the Squad. The artwork is exactly what you need it to be for a story that isn’t taking itself too seriously. There’s also so killer detail on the Banana Splits making them appear to be the prominent drivers of the story.

The story is just fun and considering the previous issues of the Suicide Squad comics have been tense and violent up until thus point, a little bit of fun is exactly what us readers needed. There’s not a lot going in that adds to the Squads universe as a whole, thus us just a fun romp through silly town that gives the reader some action and comic relief. It’s well written, well executed and interesting enough without being too silly to take seriously. It’s an unlikely crossover comic that gives you a bit of the Squad without too much heart-wrenching darkness.

Suicide Splits is exactly what you’d expect and what your soul wants in your one off mash-up story. Well written, great art and a bit of a pulp all in one comic. Trading off of the Squads badassery and having them need a rescue from a pop band who hasn’t had a hit since before I was born is a cute touch that works well with the over the topness of the Squad.

Story: Tony Bedard Art: Ben Caldwell, Mark Morales and Jeremy Lawson
Story: 8.7 Art: 8.9 Overall: 8.8 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review

Review: Suicide Squad/The Banana Splits Special #1

“SUICIDE SPLITS”! Mistaken for metahumans, thrown in the bowels of Belle Reve, the animal rock band Banana Splits are recruited by Amanda Waller for a secret mission: to save the Suicide Squad! What follows is the weirdest team-up you never thought you’d see! How can Fleegle, Bingo, Drooper and Snorky stand up to Harley, Deadshot, Katana and Croc?!

And in the backup feature, Snagglepuss is a Southern gothic playwright working with an ensemble cast of cultural figures, exploring an intensely creative time in the New York City theater scene of the 1950s…

Ok, want a concept that shouldn’t work by does and then you realize it’s something you’re missing in your life and you want more of it? Then take the Suicide Squad, add in The Banana Splits, and have it written by Tony Bedard with art by Ben Caldwell.

While the Suicide Squad is well know partially due to their high profile from a film its been a while since The Banana Splits has been a thing and for those that don’t know them, think 70s music focused show where the band is dressed in costumes and are made of nightmares similar to the animatronic Chuck E Cheese band. In this story after a misunderstanding the band is recruited by Amanda Waller and must save the Suicide Squad and it’s insane. Like, what’d Bedard take while writing this insane. But, it works. This comic is fun, full of energy, and completely out there. It makes me want to see more of this, and especially The Banana Splits as a hardcore rap group (read the comic it makes sense). Bedard in his writing not only is able to use the insanity of the Suicide Squad times ten, but he also seems to mine NWA and CB4 for material as well. More please!

Caldwell’s art too is fantastic. The style by which it’s all done feels like it enhances the insane energy and these two together as writer and artist are awesome. Caldwell makes the case that he needs to do a Harley Quinn comic as his renderings show off her insane glee of destruction. It’s a perfect mix of concept, writer, and art.

But, the main story’s insanity isn’t the best part!

That’s delivered by writer Mark Russell and artist Howard Porter who deliver Snagglepuss as a Southern gothic playwright dragged in front of the House of UnAmerican Activities committee. That’s funny, but the second half of the story is tragic and a hell of a statement as to the importance of art in society. It’s a gut punch through the laughter, but again shows off that Russell is a master at mixing comedy with social relevance in an entertaining package. Porter’s art is top notch here with a very cool design of Snagglepuss and the world around him. It’s just a fantastic combination that makes me want to see more of it all.

This comic is my favorite of the week delivering two entertaining stories that are entertaining in totally different ways.

Suicide Squad/The Banana Splits

Story: Tony Bedard Art: Ben Caldwell
Story: 9.35 Art: 9.35 Overall: 9.35 Recommendation: Buy

The Snagglepuss Chronicles

Story: Mark Russell Art: Howard Porter
Story: 10 Art: 10 Overall: 10 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review

Review: Teen Titans #24

tt_cv24In this climactic issue, the team is forced to make a decision: continue fighting crime as the Teen Titans…or go their separate ways.

How to review Teen Titans #24 without spoiling it? That’s actually a challenge. This issue written by Tony Bedard is best read after reading Detective Comics #940. The issue’s content is a direct continuation of the events there. Without spelling things out, folks can probably guess as to what happens there.

The Teen Titans are at a crossroads, reflecting about a member, and also figuring out what comes next. The issue is a decent one telling lost stories in a way from various characters’ perspectives. It manages to take what should be a completely dour moment and add in moments of levity.

But, the issue, more importantly, acts as a good finale and a bridge to what comes next. There’s lots of foreshadowing of what we can expect in Teen Titans: Rebirth as well as Raven’s own miniseries which kicks off next week. It’s a reflection on what was and what is coming. You get a sense of that from the cover which while it features this line-up we also see a hint of Cyborg’s leg. It’s a good finale for this volume.

Artist Ian Churchill and inker Norm Rapmund give us all sorts of situations and characters. Everything from Trigon’s realm to a gay pride parade are covered in this issue. The art is decent though nothing that blows me away. It is impressive in how much is covered though and the different settings still work. There’s an anthology vibe about it all.

The comic is good and for fans of this group of Teen Titans, they’ll probably enjoy it. It doesn’t quite pack an emotional impact, but as a dual prologue and epilogue it works well.

Story: Tony Bedard Art: Ian Churchill Ink: Norm Rapmund
Story: 7 Art: 7 Overall: 7 Recommendation: Read

DC Comics provided Graphic Policy with a FREE copy for review

Review : Superman : The Coming Of The Supermen #1


The name Neal Adams is still a legendary one in comic book circles, and I suppose it always will be, but who are we kidding? In recent years — check that, recent decades — it’s become synonymous with “batshit crazy” every bit as much as it has with, say, “revolutionary illustrator.” Neal’s been milking the fame he justly earned for his late-’60s/early-’70s work on titles such as BatmanGreen Lantern/Green ArrowDeadmanandThe Uncanny X-Men for all it’s worth, and if I were in his shoes I’d probably do the exact same thing, but it took the release of his Batman: Odyssey series a few years back to remind folks that this is the guy who gave us SkatemanMs. Mystic, and Armor, as well. Truth be told, comics fans are such a forgiving bunch (at least toward some creators) that those 1980s debacles from Adams’ own Continuity Comics imprint probably would have been remembered — to the extent that they were at all — as strange, even charming, curiosities if he hadn’t decided to dust off his keyboard and give it a go as both writer and artist again — with predictably disastrous, if highly entertaining, results.

Reaction to Batman: Odyssey was more or less universally negative, of course, but let’s not kid ourselves — it also exposed the rampant double-standards that exist among the largely-unpaid legion of critics out there. If, say, Grant Morrison came out with a 12-issue epic that featured Batman riding around on a pterodactyl in a hidden jungle kingdom in the center of the Earth, he would be praised to the heavens for being “post-ironic” and “making comics fun again,” but when our guy Neal does it, he’s chided as being “past his prime” and “soft in the head.” Granted, Adams’ much-publicized theories on the “hollow” or “expanding” Earth go some way toward buttressing the notion that he’s a more than a little loopy, but again, those ideas are no more “crazy” or “outlandish” than some of the stuff that’s come out of Morrison’s mouth over the years. Maybe Neal just needs to shave his head, declare that he has real-life superhuman abilities, and develop a nearly-impenetrable Scottish accent and all his eccentricities will be forgiven?

Or maybe — just maybe — his advancing age (he’s 75 as of this writing) is being held against him. It certainly wouldn’t be the first time that sort of wretched discrimination has reared its ugly head in fan circles. Jack Kirby, for instance, produced some of his best work toward the tail end of his career, but by and large comics like Captain Victory And The Galactic Rangers and Silver Star languished in the “also-ran” category for 20 or 30 years before even a few people began to recognize them as the deeply-personal meditations on timeless themes that they are.

Please don’t think I’m trying to advance an argument that Batman : Odyssey is anywhere near as good as those latter-day Kirby works, though, because it’s not. I’m simply pointing out a pattern — when legendary creators get long in the tooth, the public turns on ’em. It happened to Kirby. It happened to Ditko. It’s happening right now to Alan Moore, despite the fact that he’s producing some of the best work of his career. And, to a certain extent, it’s happening to Adams — although, in his case, his critics do have a point (or several, as the case may be). Neal really can’t write, and his personal obsessions really are of little interest to anyone other than himself, and yeah, by and large his art really isn’t as strong and compelling as it used to be — but that doesn’t mean that this late stage of his artistic oeuvre is any less interesting than his earlier, more celebrated period. Quite the contrary.


Which brings us to the first issue of his new six-part series Superman : The Coming Of The Supermen, where again Adams is pulling double-duty as both writer and artist (although it should be noted — even if the cover, in a less-than-classy move, fails to do so — that Tony Bedard is on board as a co-writer here, possibly to prevent the kind of editorial turnover that Odyssey understandably suffered from), but in all honesty this book actually seems downright tame, at least to this point, in comparison to Neal’s other efforts of recent vintage. True, it’s still about 50 times crazier than anything else in the staid, boring DC Comics line-up lately, and there are plenty of juicy hints interspersed throughout indicating that the wheels of sanity will almost certainly be coming off sooner rather than later, but the notable absence of things like our writer/artist’s penchant for — bizarre — and ill-timed —pseudo- dramatic — pauses in — his dialogue, and his marked tendency to spend page after page “building up” some massive would-be confrontation and/or revelation only to seemingly forget about it completely and move on to something else? Well, so far those things are being pretty well kept in check, which will sound highly improbable I’m sure once I tell you that this story concerns a contingent of three Kryptonians in costumes identical to Superman’s arriving on Earth (let’s call them sandy-blonde Superman, red-haired Superman, and black Superman, since we don’t actually know their names yet) and battling Kalibak and his army of Parademons in the LexCorp tower while the real Man of Steel is off in the Middle East for reasons never explained and after a military and/or terrorist skirmish there picks up a youthful orphaned boy and his dog under orders from a winged, green-skinned djinn and takes them back to Metropolis before promptly engaging in the Supermen-vs.-Kalibak battle himself and then re-encountering said djinn who takes him back in time to the period of the construction of the Sphinx in ancient Egypt whereupon he learns that the pharaoh who had it built was — Darkseid’s dad?


And yet — so far, at least, none of these disparate elements seem particularly incongruous or “weird,” at least by contemporary Adams standards, and the story has a fairly natural and unforced flow to it that stands in marked contrast to Batman : Odyssey‘s breakneck-paced parade of balls-out nonsense. Which means, of course,  that Superman : The Coming Of The Supermen is both better and more boring than its most recent predecessor in the Adams canon.

But enough about the story — for now, at any rate. Let’s talk about the art! Adams is definitely doing his level best to channel the spirit of Kirby here, but his “level best” simply ain’t what it used to be. The old one-time-revolutionary dynamics are still there, as are the inventive and highly pleasing page layouts, but I think Neal’s overly-melodramatic inking is really doing a disservice to his pencils here, and buries things under a tidal wave of thick, almost “greasy” cross-hatching. His near-photo-realistic facial expressions are occasionally still on display, so that’s a plus, but too often he seems to be taking some short-cuts in that department that have the unfortunate effect of making everyone look, at times, like some kind of mutated human/horse hybrid. The cover is plenty solid and packs enough of the old “Neal Adams Wallop,” as do a handful of the interior panels, but frankly too many of those look just plain rushed and sloppy. Not as sloppy as a number of the conceptually-dead variant covers that he’s been producing for DC this month as part of their promotional push for this book do — most of which are “re-imagined,” and highly diminished, modernized updates of his most well-known covers of years gone by inked by an all-star array of talents who still can’t manage to inject much life into them — but when you combine this second-rate art with Alex Sinclair’s garish and often just plain ugly colors, the end result is a book that looks like the portfolio work of a 16-year-old kid who’s going around to conventions trying to “wow” editors with his “Adams-meets-Kirby” pastiche-style artwork that’s been colored by his glue-sniffing buddy. Even some of the images that probably started out as a good idea at the breakdown stage — like a nice, big, half-page panel of a mouth-foaming Lex Luthor ranting into a television camera Bill O’Reilly-style — end up looking pretty crappy once Adams layers the thick, soupy embellishments on. It’s all interesting to look at, sure, and oftentimes quite arresting, but by and large I’d be lying if I said it was actually good.


Still — I’m more than willing to concede that this series, numerous flaws and all, is probably going to be well worth following for six issues. Kieran Shiach over at Comics Alliance, for instance — the same site that made the brilliant observation that Batman: Odyssey was the comic book equivalent of Tommy Wiseau’s now-legendary “midnight movie” favorite The Room, and that spilled more “digital ink” analyzing that series than any other — advances a strong argument that The Coming Of The Supermen is a work of mad genius, which probably isn’t too far off the mark (I’ll certainly give you the “mad” part). The fact that it completely ignores post-Flashpoint , and even post-Crisis, DC continuity by having Clark Kent and Lois Lane still working as TV news anchors (Lois is seen providing live on-air coverage of the battle at LexCorp tower even though no cameras appear to be on-hand to film it?) certainly shows that Adams couldn’t be bothered to actually familiarize himself with how Superman stories work these days, and that’s a very good sign that his barely-restrained excesses are about to burst through in a big way, hopefully as soon as next month.

How, then, are we to judge a comic like this? Not by any sort of traditional definitions of “good” and “bad,” since that was never in the cards to begin with. What we want from a modern-day Neal Adams comic — and the only thing we have any right to expect — is unfiltered, unintelligible, unrestrained, and unapologetic insanity. And yet even by that less-than-lofty standard, the first issue of Superman: The Coming Of The Supermen falls short. There are tantalizing glimpses that there’s plenty of crazy in the offing, though, and that’s why I’ll continue to pick this book up. I hear a loud screech in the distance, and there might even be some smoke coming from the other side of the hill, but goddamnit — I need to see the full train wreck play out in excruciating, slow-motion detail.

Don’t let us down, Neal. We know you can do it.

Traditional scoring can’t really be applied to this comic, but if I had to, I’d probably give the story a 4 and the art a 3, for an overall rating of 3.5 — and then recommend that you buy it (which I did, no publisher “freebie” here) anyway.

DC Comics Spills More Details about Convergence

Taking place in April and May 2015, Convergence is a massive two month publishing move for DC Comics that takes advantage of their multiverse to bring what hopefully is interesting stories. The company has revealed plans for their first ten releases, and have given some more insight into what we can expect for the next ten.


(Writer: Louise Simonson; Artist: June Brigman and Roy Richardson, with color by John Rauch)
Metropolis was taken when Superman was missing, so it’s up to Steel to guard the city from the heroes of GEN13 in his absence.



(Writer: Larry Hama; Artist: Philip Tan and Jason Paz, with color by Elmer Santos)
A year ago, Batman got trapped in Metropolis when hunting down Azrael. Now he must team with the man that replaced him, and see how differently they operate as Batmans.



(Writer: Ron Marz; Artist: Mike Manley, with color by Sotocolor)
The levity of the JLI team collides with the severity of the world of Kingdom Come.



(Writer: Justin Gray; Artist: Ron Randall, with color by Gabe Eltaeb)
A year under the dome can change anyone, even Catwoman. She’s set aside her life of crime to become the protector of Suicide Slum, but when the dome falls she will face her greatest challenge—Kingdom Come Batman.



(Writer: Keith Giffen; Artist: Ramon Bachs, with color by Hi-Fi)
What do Supergirl, Lady Quark, and Ambush Bug have in common? Well… nothing really. But that didn’t stop us from sticking them in a story together. You are SO welcome.



(Writer: Fabian Nicieza; Artist: Karl Moline and Jose Marzan Jr, with color by Hi-Fi)
Has Kon-El earned the right to be the man of steel? Kon will have to prove his mettle in battle against the Superman of Kingdom Come! But what if the only way to save Metropolis is to lose the fight?



(Writer: Tony Bedard; Artist: Cliff Richards, with color by John Rauch)
Trapped in the domed city, Aquaman struggles with the loss of his hand as he confronts a deadly adversary—Deathblow.



(Writer: Frank Tieri; Artist: Tom Mandrake, with color by Sian Mandrake)
When Kingdom Come’s floating fortress of New Oa threatens Metropolis, it’s up to Amanda Waller to put together a team of the city’s deadliest villains to stop it.



(Writer: Tony Bedard; Artist: Ron Wagner and Bill Reinhold, with color by Paul Mounts)
Rookie Green Lantern Kyle Rayner gears up to battle invaders, but is he ready to fight Hal Jordan, also known as Parallax?



(Writer: Christy Marx; Artist: Rags Morales and Claude St-Aubin, with color by Nei Ruffino)
Oliver Queen meets Connor Hawke for the first time, but is he ready to hand over the Green Arrow mantle to his son?


(via Blastr and HitFix)

DC Comics Reveals More Details on Convergence

Last week DC Comics revealed the cover to their big event next year Convergence. Now, They’ve revealed even more details about what we can expect during the event including plot details, creative teams, and teaser images. Check out below for what you can expect.


Superman and Lois deal with the impending birth of their child as he is called in to protect the city. Dan Jurgens (W), Lee Weeks, Dan Jurgens and Norm Rapmund (A).



Ray Palmer finds that Ryan Choi is still alive. Together, they meet and confront Deathstroke, the man responsible for “killing” Choi, before fighting the invading Extremists. Tom Peyer (W), Steve Yeowell and Andy Owens (A).



After a year in the dome, Stephanie Brown is not sure she wants to be Batgirl again. But when Flashpoint Catman attacks, Red Robin and Black Bat call her back into service.Alisa Kwitney (W), Rick Leonardi and Mark Pennington (A).



Dick Grayson and Barbara Gordon reevaluate their relationship under the dome (wedding!), but Flashpoint Hawkman & Hawkwoman attack, and everything changes. Gail Simone (W), Jan Duursema and Dan Parsons (A).



Wally West and his kids are separated from Linda, which was bad enough, but when the dome falls, Flashpoint Wonder Woman comes for them. Tony Bedard (W), Tom Grummett and Sean Parsons (A).



Starfire and Donna Troy come to get Roy Harper who has gone into seclusion since the death of his child and loss of his arm, but then Arsenal has to choose between his team and resurrecting his dead daughter. Fabian Nicieza (W), Ron Wagner and Jose Marzan (A).



When Supergirl, Zatanna, and Jade went to Jessie Quick’s baby shower, they didn’t expect to be taken to another planet for a year, or to be attacked by Flashpoint Aquaman. Frank Tieri (W), Vicente Cifuentes (A).



Two-Face is fighting another world’s Harvey Dent, and it’s up to Renee Montoya as the Question to help him beat the odds. Greg Rucka (W), Cully Hamner (A).

The Question


Bruce Wayne and Damian have friction with Red Hood before the Extremists attack. Ron Marz (W), Denys Cowan and Klaus Janson (A).

Batman and Robin


Harley Quinn is enjoying her normal life under the dome until Catwoman and Poison Ivy draft her to fight Captain Carrot. Steve Pugh (W), Phil Winslade and John Dell (A).


(via iO9 and CBR)

‘Green Lantern’ Creators To Light Up Wizard World Philadelphia Comic Con

Official Press Release

‘Green Lantern’ Creators To Light Up Wizard World Philadelphia Comic Con

Carlos Pacheco, Ethan Van Sciver, Shane Davis, Tyler Kirkham and Dave Cortes are among more than 20 with ties to the Green Lantern franchise set to appear June 17-19 at the Pennsylvania Convention Center

NEW YORK and PHILADELPHIA, June 3, 2011 — With the new GREEN LANTERN movie hitting theaters nationwide in two weeks, excitement for the storied franchise is at an all-time high. More than 20 artists and writers who have worked on various iterations of the comic will be attending Wizard World Philadelphia Comic Con, June 17-19, at the Pennsylvania Convention Center.

Among the creators who are closely associated with “Green Lantern” include Carlos Pacheco, Ethan Van Sciver, Shane Davis, Tyler Kirkham and Dave Cortes. Other top creators who have worked on the series include Phil Jimenez, Mike Grell, Greg Horn, Koi Turnbull, Doug Braithwaite and Bill Sienkiewicz.

Philadelphia Comic Con attendees can also meet others who have had a hand in the franchise, including Tony Bedard, Blond, Jim Calafiore, Kim DeMulder, Todd Klein, Tom Fleming, Mark McKenna, Tom Raney, Prentis Rollins, Nei Ruffino and Bob Wiacek.

The Green Lantern celebration at Philadelphia Comic Con includes two special programming sessions, during which many of the artists and writers above will discuss having worked on the iconic franchise. One session will be on Saturday at 2 p.m. and the other on Sunday at noon, both in programming Room B.

Philadelphia Comic Con is the sixth stop on Wizard World’s 2011 North American tour.  Hours are Friday, June 17, noon – 8 p.m., Saturday, June 18, 10 a.m. – 7 p.m., and Sunday, June 19, 10 a.m. – 5 p.m.  Tickets are available in advance online at http://www.wizardworld.com/philadelphia.html at a savings over tickets purchased at the door.  Advance adult single-day tickets are priced at $25 ($35 on site); three-day weekend tickets are $45 ($55 on site), and tickets are free for children age 10 and under when accompanied by a paid adult (limit two children per adult).  VIP packages with special entry and exclusive items are also available on a limited basis.

About Wizard World:
Wizard World produces Comic Cons and pop culture conventions across North America that celebrate graphic novels, comic books, movies, TV shows, gaming, technology, toys and social networking. The events often feature celebrities from movies and TV, artists and writers, and events such as premieres, gaming tournaments, panels, and costume contests. Wizard World also produces Wizard World Digital, an online publication covering new and upcoming products and talents in the pop culture world, and is distributed on a weekly basis to online and iPad users worldwide.

For the most recent event information please visit www.wizardworld.com and become a Philadelphia Comic Con Fan on Facebook.

***** SAVE THE 2011/12 DATES *****
June 17-19 – Philadelphia Comic Con
August 11-14 – Chicago Comic Con
September 17-18  – New England Comic Con
September 24-25 – Los Angeles Comic Con
October 22-23 – Mid-Ohio Comic Con
October 28-30 – Central Canada Comic Con (C4)
November 11-13 – Austin Comic Con
January 28-29, 2012 – New Orleans Comic Con
March 23-25, 2012 – Toronto Comic Con
April 27-29, 2012 – Anaheim Comic Con
December 8-9, 2012 – Miami Comic Con

Just Announced: Green Lantern #1s

Official Press Release

Continuing their release of information regarding the major shakeup of their comic book line, DC comics has announced four new Green Lantern comic books.


Geoff Johns has been charting the adventures of Hal Jordan and the GREEN LANTERN Corps since GREEN LANTERN: Rebirth, collaborating with such major artists as Ethan Van Sciver, Darwyn Cooke, Prentis Rollins, Marlo Alquiza and Mick Gray.

This fall, Johns reunites with artists Doug Mahnke and Christian Alamy, as the series begins anew with GREEN LANTERN #1 with cover by Ivan Reis and Joe Prado. Together they will continue to thrill readers and expand the Green Lantern mythos.

Change is coming. But set aside your fear. It’ll be worth the wait.

Additional titles include:


When deadly conflicts emerge across the universe, it’s up to Guy Gardner, John Stewart and an elite Green Lantern strike force to keep the peace.

GREEN LANTERN CORPS #1 will be written by Peter J. Tomasi with art by Fernando Pasarin and Scott Hanna. The cover to #1 is by Doug Mahnke and Christian Alamy.


Who are The New Guardians?

The power of Rage, Avarice, Fear, Will, Hope, Compassion and Love combine to be the most powerful (and colorful) team in the corps under the leadership of Kyle Rayner. Beware their power . . . and their volatility!

GREEN LANTERN: THE NEW GUARDIANS #1 will be written by Tony Bedard and illustrated with cover by Tyler Kirkham and Batt.


Going solo. Atrocitus and his Red Lantern Corps return in their own series, battling against injustice in the most bloody ways imaginable. This Lantern Corps takes no prisoners, they are judge, jury and executioners!

RED LANTERNS #1 will be written by Peter Milligan with art and cover by Ed Benes and Rob Hunter.

Green Lantern Teaser

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