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tonslope56 · 2 years

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Marvels By Kurt Busiek

Marvels remains a classic ’90s Marvel comic where the writing was just as great as the art. The story took Magneto off the table for the rest of the decade (until 1998’s “The Magneto War”) and planted the seeds of the Onslaught storyline. It also changed Wolverine’s status quo until 1999 and kicked off the bone claw era of the character. This would change the way fans saw the Canadian mutant and led to great and not-so-great Wolverine stories.

Now, for the 50th Anniversary of Vampirella, original series writer Tom Sniegoski (joined by the incredible art of Michael Sta. Maria) is back.

Secret Wars is one of the most monumental events in not just Marvel Comics history, but comics as a whole.

However, he is later disgusted by the way the public has again turned on the heroes, with one newspaper claiming the Galactus threat was a hoax.

Fans were actually pretty into the story at first; however, Marvel saw the sales and stretched the whole thing out.

I guess Moeller takes over about halfway through book two, because the style changes. His colors are brighter, which I think changes the feel that has been established up to that point. This rather odd matching of time lost Avengers starts off unnecessarily confusing as everyone has to fill in their context for being the way they are, in fact these reasons are repeated ad nauseum over the length of the book. After a while though you become familiar with them and learn to quickly speed up your reading whenever you see someone talking about Yellowjacket being crazy. Avengers Forever Part 1 collects the first half of Kurt Busiek and Carlos Pacheco’s twelve issue tale of the Destiny War. A conflict with everyones favourite center of the universe character, Rick Jones, being the linchpin because apparently he is super important for humanity’s future.

The Copyright Act of 1976 gave artists the one-time right to cancel their contracts with IP holders, an option many exercised after witnessing the mistreatment of Superman creators Jerry Siegel and Joe Shuster, who were left penniless. Artist Al Jaffee once claimed his pay cheques from EC Comics were issued with contracts on the back, so he couldn’t cash them without signing over the rights to his work. This was a common practice throughout the industry, including at Marvel, and one that was reevaluated in the wake of the act. Manned by the world's most elite pilots, the Shockrockets prot... The long-awaited sequel to the award-winning publishing sensation that made Kurt Busiek and Alex Ross into stars! News photographer Phil Sheldon's back, with the man-on-the-street's perspective on the big events of the Marvel Universe, from the Aveng...

Image To Release Astro City And More Kurt Busiek Titles Digitally

If you are interested in the history of comic book superheroes beginning from its golden age, you will not regret if you choose to read this graphic novel. In case you are not familiar with the subject, you will find an introduction about Marvel comics from the artist and author in the preface to each of the four stories. If you decide to read this book, you will be pleasantly surprised not only with its plot, but also the astonishing artwork. Kurt Busiek and Alex Ross' soyarvels' has been around partorisca the long time, and is one of these graphic novels that could have it fallen off a radar partorisca some. More than constantly dipped a superheroes front and centre, soyarvels' is really roughly men the one who normal and the women would answer to superpowered the heroes that strolls among us.

Image Comics announced the return of Astro City to their publishing line last year — along with several other Busiek projects, like the Arrowsmith sequel and a new comic called Free Agents. JLA/Avengers walked a long and winding road to publication, with many speed bumps and false starts along the way. Most online reference entries and articles do not have page numbers. Therefore, that information is unavailable for most Encyclopedia.com content. https://bestreviews.tips/kurt-busiek-marvel-comics-graphic-novels_400557/ As secrets from the far future leak into the past, the Immortal Hulk will be drawn into conflict with the Roxxon Corporation and its ruthless CEO, the man-monster Dario Agger. But when you mess with the Minotaur, you get the horns! And the ever-scheming Agger plans to recruit a Hulk of his own. It’s a big, eventful adventure that involves not just going into enemy territory, but also outside of what we humans think of as reality entirely, into the Evening Lands, the realms of magic itself. So he’s going to go through much bigger changes than he did in the first series, and will be up against much darker forces. Deadpool’s hilarious fourth-wall-breaking antics never disappoint. It remains a high watermark for Earth’s Mightiest Heroes. Heroes Reborn is infamous in Marvel history but still an important part of it. The “Onslaught” story, built for months in the X-Men books, was chosen as the vehicle for it. And because of Heroes Reborn, the book has an infamous reputation. But it was Marvels that stuck with me through the years, cementing my mental image of Gwen Stacy and New York’s integral role in Marvels. Atch any superhero movie and you will see a credit along the lines of “based on the comic book created by”, usually with the name of a beloved and/or long-dead writer or artist. But deep, deep in the credits scroll, you will also see “special thanks” to a long roster of comic book talent, most of them still alive, whose work forms the skeleton and musculature of the movie you just watched. Fan-favorite creators Kurt Busiek and George Pérez craft a new era for Earth's Mightiest Heroes! The Avengers have always defended humanity against the forces of evil. When duty calls, these legendary champions answer, fighting valiantly until justi... The Avengers forge an uneasy alliance with the Thunderbolts to face Count Nefaria -- but the true threat comes from the stars as Earth is declared a cos...

#kurt busiek marvel comics graphic novels

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mylifeinfiction · 13 days

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Marvels by Kurt Busiek

It isn't going to be them that adapts to us. The world is different now. The rules have changed. Forever.

Marvelous. Kurt Busiek's Marvels is an immensely fresh take on the Marvel superhero that explores the fascination and fear of these characters by looking at them through the lens of Phil Sheldon, a New York City photojournalist documenting their exploits over the years. This 'new' perspective forces the reader to see these heroes in a different light, and allows writer Kurt Busiek and artist Alex Ross to deliver the familiar in a unique manner that only ever heightens the themes at the core of these characters and their world.

Ross' artwork is simply jaw-dropping, capturing the feel of American masters such as Norman Rockwell and Edward Hopper while beautifully celebrating the classic designs of these beloved Marvel characters. And Busiek's writing is a triumph, somehow giving each of the featured superheroes enough to satisfy the reader without ever taking away from the core story; the everyday people who are affected by these Marvels.

9/10

-Timothy Patrick Boyer.

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abuddyforeveryseason · 7 months

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This is the Buddy for October 16th. I quite like it. It does look like a two-page spread in a manga I'd enjoy. I'm a big fan.

I am a nerd. I've always been, really, although I'm not blind to the annoying issues there are whatever it is people call nerd culture.

When I was a kid, there was a writer I read a bit of from time to time. I'm not going to name names because I don't want to insult particular people on this tumblr, especially since he doesn't seem to deserve it as far as personality goes.

He published a book, a sci fi novel with a lot of references to action movies of the time. Then he put out an RPG adaptation of the novel, which was what I got my hands on. It seemed like he was into hard science fiction, I was impressed, thought he was a smart guy. I eventually forgot about him until a few years back, when I found out what he had been doing since then.

After the books, he published some comics serving as a sequel/side story to the novel. They were pretty influenced by Rob Liefeld and Jim Lee, comics that my nerd friends usually mocked for their trashy art and horny storylines. And after that, he moved on to manga-style comics ripping off stuff like Dragon Ball, Yu Yu Hakusho and El Hazard. After that he made a set of superhero graphic novels with manga influences, and later a fantasy RPG-inspired webcomic.

So when you see the guy's body of work, it seems like he's just ripping off what's popular. He started out referencing movies of the time, then during the alternative comics boom of the nineties, he turned those hard sci fi concepts into edgy superhero stuff. When manga started really getting big, he forgot about superheroes and started doing more "mature" manga stuff (or at least what we considered to be mature back then. Manga was a lot more adult than superheroes, because of the violence, sex, book length, production model...). Then when Marvel started putting out movies, superheroes were cool again, and he's acting as if he's always been a fan. And now he's following the leader with something RPG and webtoon inspired.

So, looking at the guy, it feels like rather than being a fan who can tell when a work is quality despite it being disposable pop culture, he just looks like a drone spending money and time on whatever it is that's being published, and then scoffing at his old interests when the new stuff comes along.

Of course, even though I don't see myself that way, I am kind of the same. I got into comics during the Kurt Busiek era trade paperback boom - I wouldn't follow monthly releases, but bought the complete stories in a proper bookstore. And although I'm not from the same generation Jack Kirby's original fans are, I got really into his comics by reading reprints and digital publications - I only became a fan because someone decided to publish them.

Even when it comes to manga, I'm not exactly only appreciating quality work - I read it on e-readers (I've had four), which work great for older manga (and for ones that have an extensive and easy to find digital library), so I read a lot of Osamu Tezuka, Shotaro Ishinomori and Jiro Kuwata. I'm surprised when I go to bookstores and find the manga I assumed was super obscure available to everyone.

I could say the big difference between me and the writer guy is that I can percieve a work's quality regardless of how much hype there is around it. But even that is a line of thought that was drilled into me by the companies that decide what to publish. I can read a pirated italian translation of an obscure Osamu Tezuka manga on my generic e-reader and pat myself on the back for being clever and getting it, but that just means when a giant corporation starts airing the anime adaptation of a manga homaging Tezuka, I'll be more likely to watch it. And, even mentioning the guy's name on Tumblr, I'm advertising it (by influencing search engines into bringing his name up).

But, despite that, I still enjoy that stuff a lot. I think there's real quality into the work people who create comics and manga put in, and that it's an underappreciated artform. I could say, be it referring to comics from ninety years ago, or from a writer my own age, that the quality's there regardless of the hype. I read the RPG world story by the writer I mentioned and I think, sure, he's just following the lead of a bunch of Isekai stories and webtoons with a similar style, but, still, he's putting a lot of himself into the story. Whether he realizes it, or not.

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lashaan · 7 months

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Marvels 25th Anniversary by Kurt Busiek

Title: Marvels 25th Anniversary. Writer(s): Kurt Busiek.Artist(s): Alex Ross.Colourist(s): Alex Ross.Letterer(s): Richard Starkings & John Roshell.Publisher: Marvel.Format: Hardcover.Release Date: March 31st, 2020.Pages: 504.Genre(s): Comics, Superhero.ISBN13: 9781302919870. My Overall Rating: ⭐⭐⭐⭐⭐ Rating: 5 out of 5. “Were we misjudging the Marvels… or were we simply starting to see them…

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#25th anniversary #alex ross #comic book #graphic novel #kurt busiek #marvel #marvels #review #roars and echoes #superhero

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luciddreamslikeelectricity · 9 months

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What are some good older iron man comics. I would love to read them. I am not too fond of heavy abuse depictions so I prefer the lighter stuff. I read the civil war comics but I didn’t like it so much. As for Maria, I read few comics with her and she was a good mother to Tony. I wish we see more of her. Maybe after the I AM IRONMAN, other writers start to include her.

I didn't like Civil War (the main event) either. I thought the tie-ins and Iron Man's solo series are fairer to the character, but it was a terrible event for him overall.

Iron Man reading list:

⎊ Tales of Suspense (1959) #39 - Iron Man's origin story

You can read tales of suspense #40 - #99 if you can tolerate the sexism, racism etc. of that era. This series is the one that introduced Pepper Potts and Happy Hogan, and they're honestly a lot of fun sometimes, despite not always having the best quality of writing.

⎊ Iron Man vol 1:

This volume has 324 issues and it can get intimidating (I avoided reading it for years) so I'll try to list the best runs.

Gerry Conway (35–43, 91–97) He has a great voice for Tony and I love the characterization.

Bill Mantlo (78, 86–87, 95–115, Annual #4) - this is a very good run - a must read, in my opinion, and extremely underrated. Issue #78 tells us the story of why Tony stopped making weapons. Mantlo put in a lot of work to humanize Tony & his relationship with Whitney Frost (Madame Masque) is amazing.

David Michelinie (116–157) - he introduced Rhodey (issue #144 tells us the story of how he met Tony) and a bunch of great characters like Bethany Cabe, Mrs. Arbogast and Justin Hammer. He also established Tony's alcoholism in Demon in a Bottle and made him travel to the past & the future with Doctor Doom (#150 and #250). His run also has some light-hearted moments and you can start with this one - a lot of people do.

Dennis O'Neil (160–208) - he explored Tony's alcoholism in much more detail than Michelinie and his run gets very heavy at times (especially issue #182) (tw for suicidal ideation, depression and alcoholism) but Tony's recovery is depicted very well, too, and his portrayal of Tony, even at his worst, is very empathetic and respectful. Also, Rhodey becomes Iron Man in this run and O'Neil characterizes him very well. This is a very important Iron Man run.

David Michelinie (again) (215–250) - If you liked his writing, you can check this run out as well. It contains the Armor Wars storyline, which is a very important arc that contributed to Tony's character a lot (It's also the first time he clashed with Steve Rogers over differing ideals).

Len Kaminski (278–318) - This is the run in which Rhodey became War Machine (he even got a solo series by the same writer, which is very good). This is also the run which established Tony as a (verbal and emotional) childhood abuse survivor and the issues that depict it are issues #285 - #288 (Tony relives his childhood memories, which include memories of his father's abuse and I'm not sure how heavy it can be classified as, but it can be triggering to some people, certainly) and #313 (This one is more disturbing as it features Tony telling the story of how Howard made him drink alcohol as a very young child at an AA meeting - it's also immensely satisfying and it's a great issue, overall).

⎊ Tony is a major part of Avengers vol 1 and West Coast Avengers (1985) as well.

⎊ Marvel Graphic Novel - Emperor Doom

⎊ Marvel Super-Heroes (1990) - issues 2, 8 (Squirrel Girl's first appearance!), 9, 12-15 (issue #13 is especially good)

⎊ Marvel Fanfare #4

⎊ Iron Man vol 3 (1998)

Kurt Busiek (1-25, Annual 1999) - This is one of the best Iron Man runs ever. You could totally start with this one if you want to- Tony's characterization is amazing in this run, Happy and Pepper are part of the main cast again and they got some great development in it, Carol Danvers is featured heavily in it and this run has some of the best writing she's got and this run has some very good Black Widow moments as well. If you've heard of Rumiko Fujikawa, this is the run that introduced her.

Frank Tieri (31–35, 37–49, Annual 2001) - Tiberius Stone is a very fun character and this is the run in which he was introduced. It's very good.

Mike Grell (50-66) - This run shows us more of Tony's philanthropist side and I think it's essential reading for Iron Man fans. This is also the run in which he reveals his secret identity in order to save a dog.

⎊ Iron Man: Bad Blood is a great mini-series by David Michelinie that also features Rhodey (he isn't a huge part of Iron Man vol 3, unfortunately) and Justin Hammer.

⎊ Iron Man: Legacy of Doom is another great mini-series by David Michelinie and is the final story in the Camelot trilogy (featuring Doctor Doom).

⎊ Avengers vol 3, Avengers/Squadron Supreme '98 and Avengers/Thunderbolts #1–6 (2004)

⎊ Iron Man/Captain America (1998 Annual)

#feel free to ask me for modern im comic recs as well! they're not all bad #hope you like these- happy reading!#anonymous #iron man reading list #reading guide

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studentsofshield · 3 years

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Strange Tales: A Doctor Strange Publication History Lesson Part 1, Creation and the Legendary Lee/Ditko Run

By Vincent Faust

The Marvel hero known as Doctor Strange first appeared in Strange Tales #110 in July 1963. His debut and subsequent stories for his first few years were plotted and drawn by Steve Ditko and scripted by Stan Lee. Unlike the far more popular and lucrative Spider-Man, the creator credits for the good Doctor have never been too controversial.

"On my own, I brought in to Lee a five-page, penciled story with a page/panel script of my idea of a new, different kind of character for variety in Marvel Comics. My character wound up being named Dr. Strange because he would appear in Strange Tales."

-Steve Ditko, 2008

“Well, we have a new character in the works for Strange Tales (just a 5-page filler named Dr. Strange) Steve Ditko is gonna draw him. It has sort of a black magic theme. The first story is nothing great, but perhaps we can make something of him-- 'twas Steve's idea and I figured we'd give it a chance, although again, we had to rush the first one too much. Little sidelight: Originally decided to call him Mr. Strange, but thought the "Mr." bit too similar to Mr. Fantastic -- now, however, I remember we had a villain called Dr. Strange just recently in one of our mags, hope it won't be too confusing!”

-Stan Lee, 1963

As Lee explains, Strange was initially a short filler. He then appeared in the next issue (Strange Tales 111), but would skip a few issues until appearing for the third time in 114. Strange would maintain this Strange Tales feature spot until ST 168, which then evolved into Doctor Strange Vol 1 (keeping the numbering). Initially he shared the book with co-lead feature Human Torch Johnny Storm (101-134). Nick Fury’s modern day Agent of S.H.I.E.L.D. features then took Johnny’s spot for the duration of the Strange Tales run (then getting his own mag as well).

A minor point of contention among Strange fans and Marvel historians is whether Stephen Strange may have been initially depicted/intended as being of Asian descent. This is a theory that Kurt Busiek, acclaimed comics writer and Marvel encyclopedia, has advanced. This debate rose to new heights around the release of the 2016 film, which had become embroiled in whitewashing controversy over the Ancient One’s casting.

Here are some excerpts from Strange’s earliest appearances. Notice the possibly stereotyped facial features.

His features are similar to the Ancient One’s, who is explicitly denoted as Asian off the bat. There are no textual references to Strange’s ancestry at first. But it is worth noting that Baron Mordo is also depicted with similar features, and is fairly clearly written as European.

By his third appearance, Ditko is drawing Strange in a more Caucasian appearance. This would then stick with the character to this day. It is unknown whether this was just a style change that means nothing at all or if it was an intentional change. Perhaps the creative team realized that the character was catching on beyond a one-off anthology fill-in. Did Stan Lee pressure Ditko to alter the character to a more palatable ongoing protagonist for 1960s America? I do not believe Ditko has ever commented on this matter. If you’d like to send him a letter, he may or may not reply.

What followed was one of the most influential runs in comics history. Steve Ditko cast Doctor Strange in mind-blowing realms and dimensions that would inspire young minds. Along with the brooding Incredible Hulk, Doctor Strange became popular on college campuses across America. Learning this, Lee and Ditko leaned even farther into these elements. Readers assumed that Ditko was a drug user, which couldn’t be further from the truth. Students were getting into psychedelia and Eastern mysticism, and Ditko’s boundless imagination was the perfect fit.

Stan Lee’s role in these stories is rightfully overshadowed, but his influence should also be noted. Lee provided Strange’s crazy incantations and mystical artifacts. Mythology that has stuck with the character to this day like the “eye of Agamotto,” the “book of Vishanti,” the wand of Watoomb.”

The creative high point of this era is the famous Eternity Saga. Spanning Strange Tales 130-146, it is sometime referred to as the first proper “graphic novel” story arc in superhero comics. The epic started prior to, and overlapped with the overshadowing Galactus Trilogy in Fantastic Four, but is far longer.

In this story, Ditko introduced Eternity, one of the first cosmic entities of the Marvel Universe. A pantheon that would be added to over the years and later used to epic effect by folks like Jim Starlin, Dan Abnett, and Andy Lanning.

The story is about the entanglements of Strange, Eternity, Dormammu, and Baron Mordo.

If you’d like to read all of Lee and Ditko’s magical tales, you have a few options.

There is a hardcover omnibus collecting the entirety of Strange Tales 110-111, 114-146 together in one tome. It is a rather thin one compared to Marvel’s other releases so as to isolate Ditko’s work.

The same material has also been collected variously in hardcover masterworks, black and white paperback essentials, Doctor Strange Classic single issue reprints, etc. Some of these may be out of print and expensive online due to high demand.

All of the above information has been primarily sourced from good olde Wikipedia (a totally legitimate source), the dark recesses of my own brain, the Marvel Wikia, this Polygon article, and most importantly Neilalien.com which is a fantastic Doctor Strange fansite.

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graphicpolicy · 5 years

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Kurt Busiek and Alex Ross Deliver a Marvels Epilogue this July

Kurt Busiek and Alex Ross Deliver a Marvels Epilogue this July #comics #comicbooks #marvel

Hitting comic shops this July – an all-new addition to the classic Marvels graphic novel written by Kurt Busiek and fully painted by Alex Ross! And it’s a “Marvels” look at the “all-new, all-different” X-Men of the 1970s! In this 16-page story, Alex and Kurt bring Marvel’s world to brilliant, realistic life one last time, as the now-retired Phil Sheldon and his daughters, in Manhattan to see the…

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#alex ross #comic books #Comics #kurt busiek #marvel #marvels #marvels epilogue

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nomoremutants-com · 5 years

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An all-new standalone epilogue to the classic MARVELS graphic novel written by Kurt Busiek and fully-painted by Alex Ross! A “Marvels” look at the “all-new, all-different” X-Men of the 1970s. In this 16-page story, Alex and Kurt bring Marvel’s world to brilliant, realistic life one last time, as the now-retired Phil Sheldon and his daughters, in Manhattan to see the Christmas lights, find themselves in the middle of a clash between the outsider heroes and the deadly Sentinels, giving them a close-up perspective on the mutant experience! @thealexrossart 2019: 04/26: Avengers: Endgame 06/07: Dark Phoenix (Fox) 07/05: Spider-Man: Far From Home (Sony) 08/02: The New Mutants (Fox) 10/04: Joker 2020: 02/07: Birds of Prey & The Fantabulous Emancipation of One Harley Quinn 02/21: Bloodshot 04/03: Untitled DC 05/01: Untitled Marvel 06/05: Wonder Woman 1984 07/24: Untitled DC film 07/31: Morbius (Sony) 10/02: Untitled Marvel (Sony) 11/06: Untitled Marvel 2021 02/12: Untitled Marvel 05/07: Untitled Marvel 05/21: DC Super Pets 06/25: The Batman 08/06: Suicide Squad 2 11/05: Untitled Marvel #marvelcomics #Comics #marvel #comicbooks #avengers #avengersinfinitywar #xmen #gotg #captainamerica #ironman #thor #hulk #spiderman #uncannyxmen #wolverine #drstrange #guardiansofthegalaxy #starlord #scarletwitch #milesmorales #deadpool #guardiansofthegalaxy #captainmarvel #avengersendgame #cyclops #drdoom #thanos — view on Instagram http://bit.ly/2v9z1bo

#Instagram #IFTTT

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multiverseforger · 3 years

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began their take on Conan in 2003, which ended in 2018 when the rights were repurchased by Marvel.

The first comic series published was written by Kurt Busiek and Tim Truman and pencilled by Cary Nord and Tomas Giorello. This was followed by Conan the Cimmerian, written by Tim Truman and pencilled by Tomas Giorello, Richard Corben and José Villarrubia. This series was a fresh interpretation, based solely on the works of Robert E. Howard and on the Dale Rippke chronology, with no connection to the large Marvel run.

Dark Horse Comics also published digitally re-coloured compilations of the 1970s Marvel Comics Conan the Barbarian series in graphic-novel format, by Roy Thomas (writer), Barry Windsor-Smith, John Buscema, Ernie Chan (artists), and others.

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rabbittstewcomics · 4 years

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Episode 268

August Sales

Comics Reviews:

Batman 100 by James Tynion IV, Carlo Pagulayan, Jorge Jimenez, Guillem March, Danny Miki, Tomeu Morey

American Vampire 1976 1 by Scott Snyder, Rafael Albuquerque

Legend of the Swamp Thing Halloween Spectacular by James Tynion, Phillip Kennedy Johnson, Vita Ayala, Ram V, Julian Lytle, Emma Rios, Christian Ward, Domo Stanton, John Timms, Mike Perkins, Jordie Bellaire, Gabe Eltaeb, Andy Troy, Jeremiah Skipper

Super Sons Escape to Landis by Ridley Pearson, Ileana Gonzales

Amazing Spider-Man 49/850 by Nick Spencer, Kurt Busiek, Saladin Ahmed, Tradd Moore, Aaron Kuder, Ryan Ottley, Mark Bagley, Chris Bachalo, Humberto Ramos, Cliff Rathburn, Victor Olazaba, John Dell, David Curiel

Champions 1 by Eve Ewing, Simone Di Meo, Federico Blee

Marvels Snapshots: Spider-Man by Howard Chaykin, Jesus Aburtov

Getting it Together 1 by Sina Grace, Omar Spahi, Max Struble, Jenny Fine

Neil Gaiman's Norse Mythology 1 by Neil Gaiman, P. Craig Russell, Mike Mignola, Jerry Ordway, Dave Stewart, Lovern Kindzierski, Galen Showman

Sonic the Hedgehog: Bad Guys 1 by Ian Flynn, Jack Lawrence

Star Wars Adventures 1 by Michael Moreci, Nick Brokenshire, Ilias Kyriazis

Transformers/Back to the Future 1 by Cavan Scott, Juan Samu, David Garcia Cruz

Penultiman 1 by Tom Peyer, Alan Robinson, Lee Loughridge

American Ronin 1 by Peter Milligan, Aco, Dean White

Carmen Sandiego: The Chasing Paper Caper

Riverdale Diaries: Hello, Betty! by Sarah Kuhn, J. Bone

Bolivar by Sean Rubin

Dear Rodney by Cris Trout, Peter Dalkner

Over the Garden Wall: The Benevolent Sisters of Charity by Sam Johns, Jim Campbell

Hollywood Trash 1 by Stephen Sonneveld, Pablo Verdugo, Exposito, Birch

Space Battle Lunchtime vol 3 by Natalie Riess

Additional Reviews: Fant4stic, Friday the 13th (2009), Haunting of Bly Manor, Being a Cosplayer

News: Janeway returns to Star Trek, Doc Strange in Spider-Man 3, Marvel Action Captain Marvel returns - guest starring Spider-Gwen, Tom Taylor graphic novel series with Random House, Eternals delayed to January, Doc Shaner nonsense, NYCC news, Ottley off Amazing, Green Lantern Corps series details, Venom 200, Hellstrom and Marvel TV in review, two new Cates comics, Soul directly to Disney+, Gal Gadot

Trailers: Mank, Invincible

Comics Countdown:

Decorum 5 by Jonathan Hickman, Mike Huddleston

Space Battle Lunchtime Vol 3 by Natalie Riess

Batman 100 by James Tynion IV, Carlo Pagulayan, Jorge Jimenez, Guillem March, Danny Miki, Tomeu Morey

Die 14 by Kieron Gillen, Stephanie Hans, Clayton Cowles

American Vampire: 1976 1 by Scott Snyder, Rafael Albuquerque

We Only Find Them When They're Dead 2 by Al Ewing, Simone Di Meo

Bang 4 by Matt Kindt, Wilfredo Torres

Black Widow 2 by Kelly Thompson, Elena Casagrande, Jordie Bellaire

Thor 8 by Donny Cates, Aaron Kuder, Matt Wilson

Check out this episode!

#comics #podcast #podernfamily #rabbittstew

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wildstormoralhistory · 7 years

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Director’s Cut Material #9- Kurt Busiek

Kurt Busiek's acclaimed series Astro City- an anthology series that looks at the varied population of the super powered city was a long standing fixture of WildStorm's publishing history. After its initial series was published by Image Comics, it moved to Jim Lee's boutique imprint, Homage Comics. In addition to Astro City, Busiek also released many other very interesting titles through WildStorm like the Cliffhanger World War I fantasy title Arrowsmith with artist Carlos Pacheco and the ambitious crossover of the early Image Comics creations, Shattered Image which turned out to be quite the challenge.

Kurt Busiek (Writer): Originally, my thought was we were going to do Astro City on what I called, “The Sandman Plan” where Sandman early on, it was originally drawn by Sam Kieth and Sam dropped out after like six issues or so. And then they had Mike Dringenberg and they had different artists for different arcs. I thought, “That seems like a good way to do it.” I want to tell stories of all these different characters so we can get a guy who can draw great super team action for one story or we can get a guy who can do movie noir detective stuff for another story and I guy who can do a great romance story for another story and we’ll bring in guys as we need them. What I didn’t realize is the reason that was “The Sandman Plan” was they started with Sam Kieth and then Sam left. They never intended to do it this way. It’s just how it worked out. They went on with Mike and then Mike left. They brought in other guys as needed but it was never really the intent. It’s an editorial headache to do a book like that because you need to line people up months in advance so that they’re waiting for a script while the script was being written, blah, blah, blah. But that was my thought. I went to World Con, a Science Fiction convention in San Francisco that year. I wound up on a panel. We were talking about the comics and a guy in the audience was asking me questions. I thought, “Man, these are really specific questions. I like this guy.” After the panel, I was introduced to Brent Anderson and I thought, “Man, I’m happy to meet him.” He’s a terrific artist and since I’m planning on doing this Astro City thing, I asked him if he’d be interested in doing one of the initial six stories. He said, “Sure, I’d be happy to do it.” I went home and thought about it and realized that after the first six issues, our intent was issues seven to twelve was going to be the Confessor story that ultimately was issues four through nine of the second series. That was a moody, dark, horror, vigilante-type story and maybe Brent would be even better at that. So I called him and asked if he’d be up to do this six-parter. He said sure. At that time, we were negotiating with a company and they were interested in doing Astro City but they loved the idea of doing the series with rotating artists. Their thought was, “We’ll do a special or mini-series every time we can get a hot artist, we’ll do another Astro City project.” I said, “Whoa. Now, you’re making the series all about the artist. We don’t even publish it unless we get a hot guy?” I wanted to do the series ongoing and we’ll find the right guys, whether they’re hot or not. I didn’t make that deal and I thought, “You know, maybe I need a regular artist.” You know, this Brent Anderson guy, he can draw anything. He can draw super teams like Neal Adams and he can draw spooky stuff and he can draw mysteries and he can draw Kazaar-jungle action. There’s nothing that’s going to happen in the series that he can’t draw well. I called him up and asked if he’d be interested in doing the book regularly. He said, “Yes, sure.” He eased in to the series. First, doing an issue, then doing an arc and then, doing the whole thing. I kept asking him to do more. He decided he’ll do the book, I forgot whether he promised me five years or ten years. We’re coming up on 20 and he hasn’t quit on me yet so things look good on that front.

Re: The Wizard's Tale

The Wizard’s Tale was a project I did at Eclipse in the early ‘80s. It was going to be a three-issue, square-bound mini-series that we were doing because Eclipse had [done] The Hobbit adaptation and they wanted to do a Lord of the Rings adaptation. While they were negotiating for the rights to The Lord of the Rings, they needed to keep the artist Dave Wenzel busy. I was asked to maybe step in and do a project with Dave while they were working out these rights. Dave had these characters and I had a story idea. They kind of meshed together and we were able to take this one thing that he wanted to do for years and this other thing that I wanted to do for years and braid it together into the same story. We did that and three weeks before the first issue was supposed to come out, Eclipse went bankrupt. The book never came out through Eclipse. When I brought Astro City over to WildStorm, I said, “I had this other project too, The Wizard’s Tale.” At the time, the problem was that we had the rights back to the material but we didn’t have the art back, because the last two issues worth of art had been sent to Hong Kong for color separation. This was way back in the primitive days, this was color separation where you actually would ship full painted art to a place in Hong Kong and they’d do the scanning and the separation. Because Eclipse went bankrupt, the color separator in Hong Kong didn’t get paid for everything. They wanted their money so they didn’t want to return the art they had. We had kind of a nightmare going, “We can’t pay you for color separation because we’re not the publisher. You have to deal with the bankruptcy courts for that. But Eclipse doesn’t own this art, Dave Wenzel owns this art and you need to give it back to him.” Finally, I think what we did was this was going to be a co-publication between Eclipse and Harper-Collins and Eclipse didn’t exist anymore but Harper-Collins did. Dave visited Harper-Collins in New York and I was at a convention in London. I visited Harper-Collins in London which is where the editor who’s going to be working on the line was anyway. Eventually, we got Harper-Collins to tell the color separator, “Give them back their art.” We got the art back and I just told Jim and Scott Dunbier and John Nee, “I had this other project,” and I sent them some of the art and they said, “Yes, we want to publish that.” It took awhile because there were color separation issues but not the same ones. But eventually, we published that as a graphic novel though WildStorm. I think Eclipse had gotten the first issue lettered by somebody but the lettering had long been lost. We started over again and I rewrote the script a little. Instead of doing it as a three-issue mini-series, we did it as a graphic novel. It went through a hardcover printing and two soft cover printings at WildStorm before they figured that it had sold as much as it was going to and eventually, we got the rights to it back. That currently is in print from IDW with Scott Dunbier again.

Re: Arrowsmith

Carlos and I did Avengers Forever together. Carlos had specifically requested, when he was renewing his Marvel contract, “I want to do an Avengers project and I want Kurt Busiek to write it,” which was very flattering to me because Carlos was a fantastic artist. We had a very good time working together and around the time we were finishing Avengers Forever, I was involved with Mark Waid, Karl Kesel and other people in starting up Gorilla Comics, which ultimately published through Image. I talked to Carlos about being one of the Gorilla partners and we talked through ideas for what we could do for a book for Gorilla. We came up with Arrowsmith. My thinking had been that Carlos did such a good job, he gave the future technology of Kang the Conqueror [to] look so specific, building a culturally-cohesive world and giving him another world to design where it could be full of interesting weaponry and vehicle design, it would be a great way to make use of his talent. Doing this alternate world, World War I with fantasy grew out of that. In the end, Carlos wasn’t able to make the jump to Gorilla because we were all essentially working without the financial security net of Marvel or DC and Carlos needed that. We still wanted to do Arrowsmith [and] a few years later, Carlos was invited to do a book for Cliffhanger which was one of the other WildStorm imprints. Carlos said, “Oh, I could do this Arrowsmith that Kurt and I talked about for Gorilla.” He called me up and said, “Do you want to do this?” I said, “You betcha.” We made the deal with Cliffhanger and did a six-issue Arrowsmith series and that, we did directly with Scott [Dunbier]. It’s funny, I sometimes poke fun at Scott for it saying, “As far as I can tell, he never even read the plot.” He’ll glare at me and say, “Of course I read the plot. There’s nothing wrong with them.” He’d bug me about schedules and he talked to Carlos when things are coming in and things like that. I’d write up a plot and I send it to Scott and he’d send it to Carlos. I wouldn’t hear back from him. Carlos would draw the pages and I’d write the dialogue for pages and send it in. I wouldn’t hear back from Scott. The point at which I’d hear back from Scott was when we were going over final proofs, proofreading the lettering and making sure that the colors were right and text was right and things like that. Scott comes out of an original art background. He was an original art dealer. I think that he’s extremely focused on, “I want this book to print well and I want it to look great and I want to show off the beautiful art.” But in terms of what the story was, I don’t know. As far as I could tell, I was sending him the plot and he was sending them to Carlos like it didn’t matter. Now, he tells me, of course he read it and it was fine but I didn’t get any edits from him. I have no evidence that he read it. He swears to me that he has. I will take him at his word because he’s a fine man [laughs].

Re: Shattered Image

It was a nightmare. I honestly don’t remember a lot of the details so if somebody else says, “Kurt’s wrong about that,” take them at their word. My memory of it is Image wanted to do this crossover and I think the starting point for it was Jim Valentino. Jim wanted to do something that crossed everybody over and involved everybody. Or else, Image wanted to do it and Jim was tasked to make it happen. Jim offered it to me because I’d been writing Shadowhawk for him and I was the guy who had written more stuff. There were all different guys who’d written for Image but they generally wrote for one studio or another. I’d written at least something for most of them. Jim thought I’d be a good choice because I worked with him and I’d been talking about a project with Eric [Stephensen], even though it had never come up, and I’d worked for Marc [Silvestri] and I’d worked for Jim Lee and I’d worked for Rob. At the time I was busy, I didn’t have much time so I think that’s why we brought in Barbara Kesel as co-writer. I knew Barbara. Barbara lived locally [and] was looking for writing work and I thought, “This is something we can do together easily and have fun with it.” We co-plotted everything together and I did the first half of dialogue on issues one and three and she did two and four or the other way around. Then, we worked at each other’s stuff. But what I mostly remember is that we were doing this big crossover and during the middle of it, [Marc Silvestri's studio] Top Cow quit Image and we had to write all the Top Cow characters out. And then Extreme, Rob Liefeld’s group, they quit Image or got kicked out of Image so we had to write all those characters out. And then, Top Cow came back because part of the thing that Top Cow was angry about was a dispute with Rob and so when Rob got kicked out of Image, that solved the problem and Marc was willing to come back. As a result, I think in issue three, all the Top Cow characters disappear from the world. We’d gotten an okay that we could still publish issue three as long as we wrote them out. In issue four, we had to get rid of all the Youngblood characters. And then we got the word that the Top Cow characters were coming back. I may be remembering this wrong, but I think that on the last page of the last issue, there’s a long shot of planet Earth from space and a word balloon was coming from the planet saying, “We’re back.” Literally, that’s how we had the Top Cow characters reappear because we were messing around the timelines being broken and shattered and things like that. I’m sure that the story reads like a mess because the original place we were going with it was so derailed by partners leaving Image and coming back in and so forth so we were just hanging on by our fingernails going, “Okay, we've got to do this and we've got three pages left. There are three pages that haven’t been penciled so we’ve got that much room to make all the Extreme characters go away and all the Top Cow characters come back.” We can re-dialogue the earlier stuff but we can’t have it redrawn because there’s not time [laughs]. That’s how that happened.

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captainmarvelthekree · 7 years

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Where can I read about captain mar vell interaction with avengers?

The Kree-Skrull War (Avengers 89-97), he was as well in Avengers and some others after the kree-skrull war (it was mostly Rick Jones anyway). Then, some issue of the first Thanos saga (125), during the first death of Thanos (and Warlock) two annuals by Jim Starlin (Marvel Two in one #2 and The Avengers #7). Afterwards he was involved in Korvac’s Saga. Captain Marvel #50 is an important issue for his relationship with Rick Jones, and the Avengers help them. Of course his Graphic Novel “The Death of Captain Marvel” is important as most of the Marvel heroes go to Titan.

Secret Avengers during Avengers vs Xmen (26-28).

You could see him as well as a zombie in Marvel Zombies and one issue during Kurt Busiek’s run (as well as another annual). He was there as well during the Chaos War (Dead Avengers mini). Moreover, he was a guest character in some other comics (Marvel team up 16, Marvel Two in one 45, Hulk 245-246 and others, Defenders 62-63, Ms Marvel 19, Silver Sufer 63, some issues in Genis and Carol’s Captain Marvel runs, Submariner, Daredevil, Deadgirl, Quasar, Guardians of the Galaxy, Cosmic Powers, some what ifs, Avengers/JLA 4, etc. Also in TV Shows as Avengers Earth’s Mightiest Heroes, Marvel Super Hero Squad or some videogames.

Then we have some alternative universes’ versions as in the Triology of Earth X, Universe X and Paradise X; Secret Wars’ Korvac Saga, Lord Mar-Vell from Thanos’ Imperative,his Ultimate version, the Skrull Khn’nr between Civil War and Secret Invasion, a mangaverse of his son, a version in Mutant X, Ruins, etc.

I guess that I’m forgetting some issues but I would say that the three main interactions were the Kree-Skrull Saga, Thanos 70′s sagas (in Captain Marvel and after Warlock in 2 annuals, and the Korvac Saga). Then there are some others of course that you could check on Comic Vine.

Dear followers, could you add some issues that you consider important. Thanks!

#Captain Marvel #The Avengers #Mar-Vell #Marvel #Thanos #Korvac #Kree #Skrull #Rick Jones

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smashpages · 7 years

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‘Saga,’ Sonny Liew, Jill Thompson take home 2017 Eisner Awards

Sonny Liew, Jill Thompson and the team behind Saga all took home multiple awards last night at the 28th annual Will Eisner Comic Industry Awards at Comic-Con International in San Diego.

Saga took home four awards, including Best Continuing Series and Best Writer for Brian K. Vaughan, while artist Fiona Staples won Best Cover Artist and Best Penciller/Inker. Liew ‘s awards for his graphic novel, The Art of Charlie Chan Hock Chye, included Best Writer/Artist, Best U.S. Edition of International Material—Asia, and Best Publication Design. And Jill Thompson was recognized three times: for Best Single Issue/One-Shot for her work on Beast of Burden: What the Cat Dragged In, Best Graphic Album—New for Wonder Woman: The True Amazon and Best Painter/Multimedia Artist.

Several comics legends were also honored at the ceremony. Jack Kirby and William Messner-Loebs both received the Bill Finger Excellence in Comics Writing Award, while Walt Simonson, Jim Starlin, Gilbert and Jaime Hernandez, George Perez, Milt Gross, H.G. Peter, Antonio Prohias and Dori Seda were all inducted into the Hall of Fame.

The Bob Clampett Humanitarian Award, created to honor those people in comics and the popular arts who have worked to help others, went to Joe Ferrara, for his work in prostate cancer awareness, and Mark Andreyko for curating the Love Is Love anthology after the Pulse nightclub shooting. Love is Love also won for best anthology.

Other awards presented at the ceremony include the Will Eisner Spirit of Retailer Award, which went to Comicazi in Somerville, Massachusetts, and the Russ Manning Promising Newcomer Award, which wnet to Anne Szabla, writer/artist of Bird-Boy.

Here’s the complete list of all nominees, with the winners bolded:

Best Short Story “The Comics Wedding of the Century,” by Simon Hanselmann, in We Told You So: Comics as Art (Fantagraphics) “The Dark Nothing,” by Jordan Crane, in Uptight #5 (Fantagraphics) “Good Boy,” by Tom King and David Finch, in Batman Annual #1 (DC) “Monday,” by W. Maxwell Prince and John Amor, in One Week in the Library (Image) “Mostly Saturn,” by Michael DeForge, in Island Magazine #8 (Image) “Shrine of the Monkey God!” by Kim Deitch, in Kramers Ergot 9 (Fantagraphics)

Best Single Issue/One-Shot Babybel Wax Bodysuit, by Eric Kostiuk Williams (Retrofit/Big Planet) Beasts of Burden: What the Cat Dragged In, by Evan Dorkin, Sarah Dyer, and Jill Thompson (Dark Horse) Blammo #9, by Noah Van Sciver (Kilgore Books) Criminal 10th Anniversary Special, by Ed Brubaker and Sean Phillips (Image) Sir Alfred #3, by Tim Hensley (Pigeon Press) Your Black Friend, by Ben Passmore (Silver Sprocket)

Best Continuing Series Astro City, by Kurt Busiek and Brent Anderson (Vertigo/DC) Kill or Be Killed, by Ed Brubaker and Sean Phillips (Image) The Mighty Thor, by Jason Aaron and Russell Dauterman (Marvel) Paper Girls, by Brian K. Vaughan and Cliff Chiang (Image) Saga, by Brian K. Vaughan and Fiona Staples (Image)

Best Limited Series Archangel, by William Gibson, Michael St. John Smith, Butch Guice, and Tom Palmer (IDW) Briggs Land, by Brian Wood and Mack Chater (Dark Horse) Han Solo, by Marjorie Liu and Mark Brooks (Marvel) Kim and Kim, by Magdalene Visaggio and Eva Cabrera (Black Mask) The Vision, by Tom King and Gabriel Walta (Marvel) We Stand on Guard, by Brian K. Vaughan and Steve Skroce (Image)

Best New Series Black Hammer, by Jeff Lemire and Dean Ormston (Dark Horse) Clean Room, by Gail Simone and Jon Davis-Hunt (Vertigo/DC) Deathstroke: Rebirth, by Christopher Priest, Carlo Pagulayan, et al. (DC) Faith, by Jody Houser, Pere Pérez, and Marguerite Sauvage (Valiant) Mockingbird, by Chelsea Cain and Kate Niemczyk (Marvel)

Best Publication for Early Readers (up to age 8) Ape and Armadillo Take Over the World, by James Sturm (Toon) Burt’s Way Home, by John Martz (Koyama) The Creeps, Book 2: The Trolls Will Feast! by Chris Schweizer (Abrams) I’m Grumpy (My First Comics), by Jennifer L. Holm and Matthew Holm (Random House Books for Young Readers) Narwhal: Unicorn of the Sea, by Ben Clanton (Tundra)

Best Publication for Kids (ages 9-12) The Drawing Lesson, by Mark Crilley (Ten Speed Press) Ghosts, by Raina Telgemeier (Scholastic) Hilda and the Stone Forest, by Luke Pearson (Flying Eye Books) Rikki, adapted by Norm Harper and Matthew Foltz-Gray (Karate Petshop) Science Comics: Dinosaurs, by MK Reed and Joe Flood (First Second)

Best Publication for Teens (ages 13-17) Bad Machinery, vol. 5: The Case of the Fire Inside, by John Allison (Oni) Batgirl, by Hope Larson and Rafael Albuquerque (DC) Jughead, by Chip Zdarsky, Ryan North, Erica Henderson, and Derek Charm (Archie) Monstress, by Marjorie Liu and Sana Takeda (Image) Trish Trash: Roller Girl of Mars, by Jessica Abel (Papercutz/Super Genius) The Unbeatable Squirrel Girl, by Ryan North and Erica Henderson (Marvel)

Best Humor Publication The Further Fattening Adventures of Pudge, Girl Blimp, by Lee Marrs (Marrs Books) Hot Dog Taste Test, by Lisa Hanawalt (Drawn & Quarterly) Jughead, by Chip Zdarsky, Ryan North, Erica Henderson, and Derek Charm (Archie) Man, I Hate Cursive, by Jim Benton (Andrews McMeel) Yuge! 30 Years of Doonesbury on Trump, by G. B. Trudeau (Andrews McMeel)

Best Anthology Baltic Comics Anthology š! #26: dADa, edited by David Schilter and Sanita Muizniece (kuš!) Island Magazine, edited by Brandon Graham and Emma Rios (Image) Kramers Ergot 9, edited by Sammy Harkham (Fantagraphics) Love Is Love, edited by Marc Andreyko (IDW/DC) Spanish Fever: Stories by the New Spanish Cartoonists, edited by Santiago Garcia (Fantagraphics)

Best Reality-Based Work Dark Night: A True Batman Story, by Paul Dini and Eduardo Risso (Vertigo/DC) Glenn Gould: A Life Off Tempo, by Sandrine Revel (NBM) March (Book Three), by John Lewis, Andrew Aydin, and Nate Powell (Top Shelf) Rosalie Lightning: A Graphic Memoir, by Tom Hart (St. Martin’s) Tetris: The Games People Play, by Box Brown (First Second)

Best Graphic Album—New The Art of Charlie Chan Hock Chye, by Sonny Liew (Pantheon) Black Dog: The Dreams of Paul Nash, by Dave McKean (Dark Horse) Exits, by Daryl Seitchik (Koyama) Mooncop, by Tom Gauld (Drawn & Quarterly) Patience, by Daniel Clowes (Fantagraphics) Wonder Woman: The True Amazon by Jill Thompson (DC Comics)

Best Graphic Album—Reprint Demon, by Jason Shiga (First Second) Incomplete Works, by Dylan Horrocks (Alternative) Last Look, by Charles Burns (Pantheon) Meat Cake Bible, by Dame Darcy (Fantagraphics) Megg and Mogg in Amsterdam and Other Stories, by Simon Hanselmann (Fantagraphics) She’s Not into Poetry, by Tom Hart (Alternative)

Best U.S. Edition of International Material Equinoxes, by Cyril Pedrosa, translated by Joe Johnson (NBM) Irmina, by Barbara Yelin, translated by Michael Waaler (SelfMadeHero) Love: The Lion, by Frédéric Brémaud and Federico Bertolucci (Magnetic) Moebius Library: The World of Edena, by Jean “Moebius” Giraud et al. (Dark Horse) Wrinkles, by Paco Roca, translated by Erica Mena (Fantagraphics)

Best U.S. Edition of International Material—Asia The Art of Charlie Chan Hock Chye, by Sonny Liew (Pantheon) Goodnight Punpun, vols. 1–4, by Inio Asano, translated by JN PRoductions (VIZ Media) orange: The Complete Collection, vols. 1–2, by Ichigo Takano, translated by Amber Tamosaitis, adaptation by Shannon Fay (Seven Seas) The Osamu Tezuka Story: A Life in Manga and Anime, by Toshio Ban and Tezuka Productions, translated by Frederik L. Schodt (Stone Bridge Press) Princess Jellyfish, vols. 1–3 by Akiko Higashimura, translated by Sarah Alys Lindholm (Kodansha) Wandering Island, vol. 1, by Kenji Tsuruta, translated by Dana Lewis (Dark Horse)

Best Archival Collection/Project—Strips (at least 20 years old) Almost Completely Baxter: New and Selected Blurtings, by Glen Baxter (NYR Comics) Barnaby, vol. 3, by Crockett Johnson, edited by Philip Nel and Eric Reynolds (Fantagraphics) Chester Gould’s Dick Tracy, Colorful Cases of the 1930s, edited by Peter Maresca (Sunday Press) The Realist Cartoons, edited by Paul Krassner and Ethan Persoff (Fantagraphics) Walt & Skeezix 1931–1932, by Frank King, edited by Jeet Heer and Chris Ware (Drawn & Quarterly)

Best Archival Collection/Project—Comic Books (at least 20 Years Old) The Complete Neat Stuff, by Peter Bagge, edited by Eric Reynolds (Fantagraphics) The Complete Wimmen��s Comix, edited by Trina Robbins (Fantagraphics) Fables and Funnies, by Walt Kelly, compiled by David W. Tosh (Dark Horse) Trump: The Complete Collection, by Harvey Kurtzman et al., edited by Denis Kitchen and John Lind (Dark Horse) U.S.S. Stevens: The Collected Stories, by Sam Glanzman, edited by Drew Ford (Dover)

Best Writer Ed Brubaker, Criminal 10th Anniversary Special, Kill or Be Killed, Velvet (Image) Kurt Busiek, Astro City (Vertigo/DC) Chelsea Cain, Mockingbird (Marvel) Max Landis, Green Valley (Image/Skybound), Superman: American Alien (DC) Jeff Lemire, Black Hammer (Dark Horse); Descender, Plutona (Image); Bloodshot Reborn (Valiant) Brian K. Vaughan, Paper Girls, Saga, We Stand On Guard (Image)

Best Writer/Artist Jessica Abel, Trish Trash: Roller Girl of Mars (Papercutz/Super Genius) Box Brown, Tetris: The Games People Play (First Second) Tom Gauld, Mooncop (Drawn & Quarterly) Tom Hart, Rosalie Lightning: A Graphic Memoir (St. Martin’s) Sonny Liew, The Art of Charlie Chan Hock Chye (Pantheon)

Best Penciller/Inker or Penciller/Inker Team Mark Brooks, Han Solo (Marvel) Dan Mora, Klaus (BOOM!) Greg Ruth, Indeh (Grand Central Publishing) Francois Schuiten, The Theory of the Grain of Sand (IDW) Fiona Staples, Saga (Image) Brian Stelfreeze, Black Panther (Marvel)

Best Painter/Multimedia Artist (interior art) Federico Bertolucci, Love: The Lion (Magnetic) Brecht Evens, Panther (Drawn & Quarterly) Manuele Fior, 5,000 km per Second (Fantagraphics) Dave McKean, Black Dog (Dark Horse) Sana Takeda, Monstress (Image) Jill Thompson, Wonder Woman: The True Amazon (DC); Beasts of Burden: What the Cat Dragged In (Dark Horse)

Best Cover Artist (for multiple covers) Mike Del Mundo, Avengers, Carnage, Mosaic, The Vision (Marvel) David Mack, Abe Sapien, BPRD Hell on Earth, Fight Club 2, Hellboy and the BPRD 1953 (Dark Horse) Sean Phillips, Criminal 10th Anniversary Special, Kill or Be Killed (Image) Fiona Staples, Saga (Image) Sana Takeda, Monstress (Image)

Best Coloring Jean-Francois Beaulieu, Green Valley (Image/Skybound) Elizabeth Breitweiser, Criminal 10th Anniversary Special, Kill or Be Killed, Velvet (Image); Outcast by Kirkman & Azaceta (Image/Skybound) Sonny Liew, The Art of Charlie Chan Hock Chye (Pantheon) Laura Martin, Wonder Woman (DC); Ragnorak (IDW); Black Panther (Marvel) Matt Wilson, Cry Havoc, Paper Girls, The Wicked + The Divine (Image); Black Widow, The Mighty Thor, Star-Lord (Marvel)

Best Lettering Dan Clowes, Patience (Fantagraphics) Brecht Evens, Panther (Drawn & Quarterly) Tom Gauld, Mooncop (Drawn & Quarterly) Nick Hayes, Woody Guthrie (Abrams) Todd Klein, Clean Room, Dark Night, Lucifer (Vertigo/DC); Black Hammer (Dark Horse) Sonny Liew, The Art of Charlie Chan Hock Chye (Pantheon)

Best Comics-Related Periodical/Journalism The A.V. Club comics coverage, including Comics Panel, Back Issues, and Big Issues, by Oliver Sava et al. Comic Riffs blog, by Michael Cavna Critical Chips, edited by Zainab Akhtar (Comics & Cola) PanelPatter.com, edited by Rob McMonigal WomenWriteAboutComics.com, edited by Megan Purdy and Claire Napier

Best Comics-Related Book blanc et noir: takeshi obata illustrations, by Takeshi Obata (VIZ Media) Ditko Unleashed: An American Hero, by Florentino Flórez and Frédéric Manzano (IDW/Editions Déese) Krazy: George Herriman, A Life in Black and White, by Michael Tisserand (Harper) The Life and Legend of Wallace Wood, vol. 1, edited by Bhob Stewart and J. Michael Catron (Fantagraphics) More Heroes of the Comics, by Drew Friedman (Fantagraphics)

Best Academic/Scholarly Work Brighter Than You Think: Ten Short Works by Alan Moore, with essays by Marc Sobel (Uncivilized) Forging the Past: Set and the Art of Memory, by Daniel Marrone (University Press of Mississippi) Frank Miller’s Daredevil and the Ends of Heroism, by Paul Young (Rutgers University Press) Pioneering Cartoonists of Color, by Tim Jackson (University Press of Mississippi) Superwomen: Gender, Power, and Representation, by Carolyn Cocca (Bloomsbury)

Best Publication Design The Art of Charlie Chan Hock Chye, designed by Sonny Liew (Pantheon) The Complete Wimmin’s Comix, designed by Keeli McCarthy (Fantagraphics) Frank in the Third Dimension, designed by Jacob Covey, 3D conversions by Charles Barnard (Fantagraphics) The Realist Cartoons, designed by Jacob Covey (Fantagraphics) Si Lewen’s Parade: An Artist’s Odyssey, designed by Art Spiegelman (Abrams)

Best Webcomic Bird Boy, by Anne Szabla Deja Brew, by Teneka Stotts and Sarah DuVall (Stela.com) Jaeger, by Ibrahim Moustafa (Stela.com) The Middle Age, by Steve Conley On Beauty, by Christina Tran

Best Digital Comic Bandette, by Paul Tobin and Colleen Coover (Monkeybrain/comiXology) Edison Rex, by Chris Roberson and Dennis Culver (Monkeybrain/comiXology) Helm, by Jehanzeb Hasan and Mauricio Caballero On a Sunbeam, by Tillie Walden Universe!, by Albert Monteys (Panel Syndicate)

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#comic books #Smash Pages #cci2017 #eisner awards #eisner award winners

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gregfahlgren · 7 years

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NEW BLOG! Fun Retro Review for the all time classic MARVELS by @kurtbusiek and Alex Ross. Really enjoyed this one, and wanted to spread the word about how amazing this book is.

#Marvel #Marvel Comics #Alex Ross #Kurt Busiek #Marvels #Reviews #Book Reviews #Comic Book Reviews #Graphic Novel Reviews

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itkmoonknight · 4 years

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Episode 124 - LUNAR-PICK New Comic Review : By Khonshu and Crom!

EPISODE 124:

High Priest of Khonshu Rey is joined by special guest, and Conan mega-fan David Finn from the Signal of Doom!

Dave brings his know-how for all the Loonies who want to know more about Conan, and we both attack the review with a sword and crescent darts!

Tune in for the first of a four part new adventure featuring our Fist of Khonshu, Moon Knight!

PHASE OF THE MOON: By Crom!! ...

LUNAR-PICK NEW COMIC BOOK REVIEW

CONAN: SERPENT WAR #1 -

Published December 2019

Writer - Jim Zub

Penciler - Vanessa Del Rey, Scot Eaton, Stephen Segovia

Inker - Scott Hanna, Vanessa Del Rey

Colourist - Frank D'Arma, Jean-Francois Beaulieu

Letterer - Travis Lanham

Editor - Mark Basso, Ralph Macchio

BARE BONES (SYNOPSIS) - written by Rey

A lone being named James Allison lies in bed, broken and forlorn with nothing but his distant memories to comfort him.

James Allison is no ordinary man, and as he edges towards what is seemingly his death, he recalls the countless lives he has led throughout the centuries - from barbaric adventures, to Gothic invasions and holy crusades.

Allison is haunted by a being with serpent eyes and it is this very being which seems to be Allison’s reaper in disguise.

The serpent being forces Allison to remember his sins and recall one of his past lives - a life as a man named Niord.

It was as Niord that Allison came face to face with a Serpent monster named Satha. After Niord discovers the beast has slaughtered half his tribe, Niord defeats the great snake, and it is this memory that is reminded to Allison from the voice in his head...the voice belonging to Set.

Allison reaches out and traverses the universe and links up with a man named Moon Knight...a servant of Khonshu and one susceptible to join Allison’s cause. Allison’s aim is to recruit a team to assist him in defeating the voice in his head...the voice that is compromising his immortal soul. So, with the help of Khonshu, Moon Knight is recruited. Others join shortly after, as Allison appears to be slowly assaulted by menacing tentacles - Soloman Kane is recruited from 16th century Northumberland; cut-throat fighter, Dark Agnes is lured into the quest after having been confronted with what appears to be black magic from a band of villagers in Poitu-Charentes; and finally from the Hyborian Age, Conan the Barbarian is afflicted with serpent visions after having battled an avatar of Set the great serpent. His hallucinations draw him towards the call of Allison from beyond.

As the four recruits become more entrenched in Allison’s other worldly influence through battles that each find themselves, in a flash of brilliance, they mysteriously discover themselves paired up - Moon Knight with Solomon Kane, and Dark Agner with Conan.

By Allsion’s design they have been brought closer together, to be used as pawns for Allison’s confrontation with the God of Chaos, Set.

MOON RATING (out of phases of the Moon):

Dave: 🌖 - /10

Rey: 🌖 - 6/10, Waning Gibbous

SHOW NOTES:

Conan: Serpent War Vol. 1 #1

Ms. Marvel, Moon Knight and She-Hulk will be ready by end of 2020

Signal of Doom Podcast

Signal of Doom Podcast - Patreon

Dave's novels - Ashanti Series (Amazon)

Paint Monk's Library

Turramurra Music Centre

Robert E. Howard's Conan novels

Dark Horse Conan comics

Roy Thomas' Conan

Chuck Dixon's Savage Sword of Conan

Conan - Epic Collections (Kurt Busiek's run)

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CREDITS:

Music Written, Performed and generously provided by Deleter:

https://deleter.bandcamp.com/

ITK Logo Graphic Design by The High Priests of Khonshu

ITK Graphic Design produced and assisted by Randolph Benoit:

https://twitter.com/randolphbenoit

https://www.youtube.com/randolphbenoit

Proud Member of The Collective

The music for this episode contains excerpts from various songs and music copyrighted by Deleter and Brian Warshaw. The music agreed for use on Into the Knight - A Moon Knight Podcast is licensed under an Attribution License;

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