Review: Punk rock and questionable choices are the ties that bind in Curb Stomp #1

curbSWritten by: Ryan Ferrier

Illustrated by: Devaki Neogi

Colors by: Neil Lalonde

Letters by: Colin Bell

Publisher: Boom Studios

The time period of Boom Studio’s limited series Curb Stomp is somewhat tough to pin down. The clothing styles vacillate from the 50s through the 70s, which of course form the template for the hot styles of today. The convenience stores have a modern look, as does the one television set I spotted (there’s nary a cell phone or a computer to be found). At least for now, it doesn’t really matter: Curb Stomp traffics in a genre defined by the pulp novels and exploitation films of those aforementioned eras, so it makes sense that the look of it is something of a review of these periods.

The story itself is also somewhat timeless:  several marginalized neighborhoods surrounding a large city are defined by the gangs that rule them. Newport gang “The Wrath” runs guns and Bayside crew “The Five” runs drugs, leaving the working class people of Old Beach caught between the two. And that’s where the all-woman gang “The Fever” come in. Rather than junk or firearms, The Fever deal justice: with bats, fists and switchblades. “The cops don’t come to Old Beach,”
explains gang-leader Machete Betty,” our justice is D.I.Y.” Rounding out the crew are Violet Volt, Daisy Chain, Derby Girl and Bloody Mary. These ladies are fiercely loyal to each other — as much friends, pillaging each other’s collections for punk rock records — as they are a bad ass gang of broads who fight dirty.

Though the moniker and set-up are firmly grounded in girl-gang pastiche, the racial make-up of the The Fever is a breath of fresh air. Though not explicitly stated, at least three of the group appear to be non-white: Bloody Mary is asian, Violet Volt is black and Machete Betty just might be latino if the cover art is representative. If it seems odd that I’m so unsure of their ethnicity, you just have to see the comic for yourself: Neil Lalonde has had a field day coloring it. His use of bright and contrasting hues gives the book a pop-punk look, an Andy Warhol sensibility. This really worked for me, especially during a scene in which a crooked city politician makes an alliance with the leaders of The Wrath and Five gangs. There, Lalonde’s use of sickly greens and yellows sets the perfect tone.

Speaking of the art, let’s talk about newcomer Devaki Neogi’s beautiful work on this issue. While we’ve seen some very lovely and modern main-stream comic styles from other Boom titles released this year, Neogi’s art reminded me powerfully of the work of seminal indie comic artists like Charles Burns and Daniel Clowes. The characterizations of the Fever members are sexy, but powerful. These ‘aint your silver-age pin-ups. The clothing and styles the individual Fever members sport seem authentic, if a little showy.

And what of the violence? With a title like Curb Stomp, I worried that it might be handled in an exploitative way — in-step with the exploitation films that lend the book it’s look. Not so. There’s an interesting (if a tad unrealistic) truce amongst the gangs that disallows the use of firearms on each other, leaving skirmishes to be settled with fists and bats rather than drive-by’s. The titular scene forms the spine of the tale: and leaves the perpetrator sick to their stomach. Ferrier plays his plan for the four issue series close to the chest, leaving this first installment to mostly introduce the characters and define the borders of the city and it’s denizens. In our  recent interview with the series creator, Ferrier stated the series would have “real social issues and…a lot more messages in it.”  The loose sketch of the story is interesting, and if the later issues match the intensity of the art it might be a very interesting series.

 

Curb Stompage, Tiger Law and More with Ryan Ferrier [Interview]

By Matt O’Keefe

Ryan Ferrier jumpstarted his comic book writing career with the self-published Tiger Lawyer in 2010. In it he playfully poked at the wide breadth of interpretations of licensed characters, both story-wise and artistically, by splitting his creator-owned comic into two parts: one goofy and broad and the other dark and gritty, but both about the same protagonist. From there, Ferrier has gone on to build a career out of comics in both the styles he introduced in Tiger Lawyer #1. He balances writing more eclectic comics like D4VE from Monkeybrain and soon in print from IDW with darker ones like Brothers James and the upcoming Curb Stomp and Sons of Anarchy for BOOM! Studios. I spoke to Ryan about his humble small-press beginnings and speedy rise to publishers like Monkeybrain, BOOM! and IDW.

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Art by Felipe Torrent.

I thought the split between the fun and the serious in Tiger Lawyer was really clever. What made you decide to go that route?

It wasn’t planned; it just kind of happened. It started as a joke. I posted the script online for the funny half and Matt McCray, the artist, really got into it and said we should make it into a comic. So we did it and it steamrolled from there. That was all unplanned. After that half of the comic was completed I decided I wanted to put out a full issue and not just an ashcan, and at the time I really wanted to work with Vic Malhotra, whose art I just love. So we paired up and took it in a different direction with the crime noir more serious half. Because it was so unplanned we didn’t feel that we had to do it all fun [like the first half] and we could just do whatever we wanted with it. It was just comics people kind of goofing off, jamming with it. It just kind of took off from there. People dug it so we kept doing it.

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Art by Brian Level.

How’d you get people to pay attention to Challenger Comics when it first started up?

It has (or had, I haven’t touched it in a while) a pretty small following, but the people who did follow it were really cool and excited about it. And I think a part of it was how everyone involved in Challenger Comics had already worked hard for years trying to “break in.” So each person that contributed kind of had their own equity in the sense that they all had people rooting for them and followers from their other work. And it can’t be understated how important social media is for creators just starting out. Twitter’s just been amazing about getting the word out and spreading links around and getting attention. So it was kind of a culmination of all those different things. And the first year that we did Challenger we put out just a ton of comics. I had several banked up from before the site had even launched, and in the first year we had over a dozen [on the site]. We hit the ground running, which is now kind of biting us in the butt because Challenger slowed down a lot. I think that’s partly because everyone involved is seeing bigger work. So it’s a lot harder for any of us to make a free short because we’re just so busy right now.

Yeah, I saw that like three people from Challenger Books have had books published Monkeybrain?

Yeah. Monkeybrain was really cool. We all kind of got on that Monkeybrain train this year and that was just a really interesting transition. And I’m even seeing now that a lot of people who were or are involved in Monkeybrain stuff are catapulting to other things like Mike Moreci, Ryan Lindsay and Paul Allor. They’re all getting big work now so I think i think Monkeybrain’s a logical next avenue for people putting all their work online and getting their work out there independently like with Challenger. But at the same time Monkeybrain has top names doing books there. Gabriel Hardman has Kinski and Joshua Williamson has Masks and Mobsters. The closest thing I can equate Monkeybrain to, and I use this comparison a lot with Challenger, is that it’s a really cool online convention for people really into making interesting comics their own way.

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Art by Fiona Staples.

D4VE is coming out from IDW as single issues, right?

Yeah, that starts in Mid-February.

Why the shift from graphic novels to single issues for a Monkeybrain book?

You know, I’m not entirely sure. I’m certainly very cool with it. I think when I first started talking with IDW we were talking under the assumption that it would go right to trade. I can’t speak for Alison [Type] or Chris [Roberson], who run Monkeybrain, or anyone at IDW but I think that D4VE has had some good feedback and I think people dig it. At least I hope that’s why they want to do it in singles. But yeah, I’m interested in seeing how it does in a different market. Although at the same time there’s not too much difference between putting out a book at Monkeybrain and putting out a book in print with the exception of page count. That’s something a little bit different in the case of D4VE because of its digital roots. Some issues run a couple pages short, some run over. So that’s really the only kind of logistical challenge, but yeah, I’m really excited to see how it all plays out.

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Art by Valentin Ramon.

How did you tackle the page count challenge?

Well, in the case of D4VE with IDW we’re doing a whole bunch of new backmatter, so every issue is going to have some really cool original stuff. I know Issue 1 has a couple pin ups but moving forward with Issues 2-5 there’s going to be a whole bunch of cool stuff that me and Valentin [Ramon, the artist] are working on right now. And we’re doing all-new covers as well. I think each issue is going to have 3-4 variants and Valentin did a whole row of covers that connect to each other. It’s pretty exciting

Do you worry if cheap digital will cannibalize the sales for the print version?

That’s a really good question. I have thought about that many times, and I honestly don’t really know what to expect because this is also my first book at a bigger publisher. It’s my first time solicited in previews and being in regular comic shops and being on the shelves and stuff like that. Up until now I’ve just been super indy swinging it on my own, so I’m really curious to see how it goes. I think we’re still in a period of feeling out digital comics and I think there’s still a really big audience that is print only and an audience that’s digital only. I’ve heard lots of people say that they’re excited to read D4VE but they’re print people so they’ll get it once a trade comes out. So I’m hoping that [the print version finds an audience]. But at the same time I’m really just happy to have anyone read it, whether it be on ComiXology or the print books. I hope they buy the print books because I want them to be successful and I just quit my day job so [laughs] I would like to keep some money and hopefully it snowballs into more work. But I’m kind of not worried too much about it. More than anything, I’m grateful to have anything out. It’ll be interesting.

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Art by Devaki Neogi and Neil Lalonde.

How’d you land a miniseries at BOOM Studios?

That’s a good question. I think I’m still figuring that out [laughs] but BOOM is awesome I love BOOM very much and they have been really really good to me. I guess long story short was that I met BOOM at a convention a few years ago and just started talking to them and some of their peoples. I actually started out lettering for BOOM. I do a lot of lettering still, and that for me has been a really good way to meet people in the industry, get experience and talk to editors. I don’t want to say sneak in through the backdoor because there’s no such thing, but for me lettering stuff was a way to build a relationship with editors and other creators. So yeah, that’s more or less how it happened. I started out lettering RoboCop two years ago and they were really nice to give me work and I’ve just been pitching stuff to them for awhile now and they were really stoked about Curb Stomp. Now that’s coming out, I think, two weeks after D4VE.

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Art by Brian Level.

Curb Stomp seems to to be in a somewhat similar vein to Brothers James. Is that accurate?

I think in the sense that it’s not at all like D4VE or Tiger Lawyer you’re definitely on the right track. I think Brothers James is a little more of a genre book. I kind of hate using that term, but it’s really grindhousey pulpy. It knows what it is, it knows it’s in that cinematic, gritty world. I think that, if anything, Curb Stomp has a little more brightness to it. Which is really weird because Curb Stomp deals with more real social issues and there are a lot more messages in it than there were in Brothers James. And I think that Curb Stomp has a wider array of characters and different kinds of characters. That’s not at all to put down Brothers James because I love Brothers James. That was like my first passion project and I love what Brian and I have done with it; it was one of my favorite books to work on. But [Brothers James and Curb Stomp] are similar in that they’re really ultra violent but not in an offensive way, I hope. They’re more serious books and they’re more gritty. But Curb Stomp has a lot of humor and atmosphere and interesting and fun character stuff.

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Art by Toni Infante.

You mentioned the violence isn’t offensive in Curb Stomp and Brothers James. The violence in the Sons of Anarchy TV show is offensive to some people. How do you address that in the comic version? 

That’s a very good question. It’s very, very interesting writing Curb Stomp and Sons of Anarchy at the same time because in Curb Stomp there are a lot of my beliefs and a lot of real issues that we’re tackling. And not to fault Sons of Anarchy, but it knows what it is and it knows the kind of content that it has. So there are a lot of differences in how to approach Sons of Anarchy as opposed to Curb Stomp. Like, if I wrote the kind of violence in Sons of Anarchy that I write in Curb Stomp, it wouldn’t feel like Sons of Anarchy. But at the same time I think [Sons of Anarchy] is a modern book. It’s a really great show so there’s wiggle room there, but there’s a distinct difference in how to approach both of them. I’m about an issues into Sons and it’s been a really interesting experience. Although they’re both in the same wheelhouse as gang-related, violent, kind-of-thriller books they’re like apples and oranges in terms of what headspace I need to get into to write them.

Your career has been progressing at a steady clip. Have you been following any sort of game plan to get where you are now?

Oh, man. That’s a tough one. I think it’s very, very apt that you ask me this today, because I finally came to terms that I’m going to quit my day job in a few weeks. I’m at that point in my career when it’s really, really fucking terrifying. This is it and I’m either going to fail spectacularly or at best kind of keep my head above water. But I think the game plan… lettering’s helped out a lot, but it’s not something that you can rest on entirely, just hope writing gigs come out of it. Over the past six or seven years I’ve made a lot of sacrifices and just worked myself to the bone. That’s what you have to do; you have to work so much and for very little. You have to work and know that most of [what you’re working on] is not going to get published. You just have to kinda hope that you get good and nurture relationships. There are so many things that affect a career. There are so many different factors that go into getting a comic book series greenlit. I honestly don’t really know anything beyond that you just have to hustle. So that’s kinda what i’m going to keep doing. I’m not going to slow down now that I don’t have a day job. After taking the leap you just have to hustle ten times faster [laughs].

You can find Ryan Ferrier on Twitter and Tumblr. D4VE #1 just went on sale last week and Curb Stomp #1 comes out tomorrow 2/25. 

Review: Real Life Lessons from Help Us! Great Warrior

By: Lindsey Morris

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Lesson #1 : Appearances can be deceiving. 

Help Us! Great Warrior is the latest effort from cartoonist Madeleine Flores, who took the strip from humble beginnings on Tumblr to the eight-issue limited series it now has with BOOM! Box. The comic found a strong following quickly when it was introduced online, so it’s no surprise that this new iteration has already seen acclaim and success. Who wouldn’t be able to relate to a lumpy warrior whose main concerns are looking cute, eating junk food, and defeating evil?

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Lesson #2 :  The sooner you beat the baddies, the sooner you can have dessert.

Flores and colorist Trillian Gunn create a landscape of pastel imperfection where monsters roam freely, sleepy time is mercilessly interrupted, and there is just never enough cake to go around. A cruel world, indeed. The titular Great Warrior is constantly called upon to help fight demons, but sometimes she just has better things to do, you know? All work and no play never worked out for anyone.

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Lesson #3 : Honesty is the best policy. 

From lamenting her lack of deodorant, to trying to pawn off heroic missions on her friends, Great Warrior is a charming goofball of a lead character. Her supporting cast of ladies, Hadiyah and Leo, bring personalities that help balance the levity of the book, offering more serious tones to the mix. Between the three of them, and Great Warrior’s new companion Buckets, they make a ragtag group of champions that will surely dominate the day in the issues to come.

Help Us! Great Warrior #1 is an excellent introduction to a great all-ages comic steeped in fantasy, snacks, and friendship.

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Review: Cluster #1 War is Hell on Celebrities

By Davey Nieves

CLUSTER #1

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Story: Ed Brisson

Art: Damian Couceiro

Color: Michael Garland

Publisher: Boom! Studios

 

 

 

Given the rash of criminal activity celebrities get away with dominating headlines today, Cluster feels like a timely commentary on current events. Ed Brisson’s story follows the semi-celebrity daughter of a politician, Samara Simmons. We pick up Samara’s story in the middle of her hitting rock bottom as she’s arrested for operating a vehicle under the influence after the accident she causes kills someone close to her. While someone like her in the real world might get away with simple community service; in Brisson’s dystopian future any crime that involves weapons or the death of another person is an automatic life sentence in prison. In a world where laws are absolute, appeals take the form of a 15 year military service suicide mission.

Prisoners who sign up for the program are taken to Midlothian, a habitable planet the government has gone to war over against an alien race known as the Pagurani. Just when the circumstances couldn’t get any bleaker, prisoners are equipped with a “punch” in their chest. When sent on missions, the device must be checked into the prison within 24hrs or the prisoner will excruciatingly die from internal organ liquification. By the end of the first issue all hell breaks loos on Samara’s first mission and she along with a group of prisoners find themselves in a race against time to keep their insides from turning to strawberry Quik.

The opening chapter of Cluster is a bit predictable but solid all around. Brisson lays a lot of exposition down in these pages but manages to keep it from crossing into boredom. We still don’t see the reasons to root for Samara, but the premise is interesting enough to warrant a return for issue two. Hopefully as the series goes on and the supporting cast become more fleshed out Samara’s redemption story will add more layers to the character.

Damian Couceiro’s art continues to evolve from his previous work on Full Moon Fever and Murder Book. His sequentials are on point and the hard boiled action scenes are superb. Where his work could be ramped up is in the character designs themselves. A story like Cluster is a world that’s being designed and an artist should take big chances when illustrating on that type of scale, which is an issue for the creative marriage of writer and artist to tackle.

Cluster is an intriguing premise that strives to combine the hopelessness of a prison movie with the action drama of survival story. Issue one doesn’t execute to it’s full potential but succeeds enough to see if they can work out the kinks in the next chapter.

 

Review: Munchkin#1. Fun Game, Fun Comic

By Davey Nieves

Munchkin #1
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Writers: Jim Zub, Tom Siddell, John Kovalic

Illustrators: Mike Holmes, Rian Sygh, John Kovalic

Colors: Fred Stresing

Letters: Jim Campbell

Publisher: BOOM! Box

 

The world of table top card games is a universe in and of itself. Much like exploring space you have to be willing to come into contact with any life forms you discover. My sea crab nature prevents me from doing so but I can appreciate the cunning and strategy involved in crafting a game like D&D, Magic The Gathering, or Cards Against Humanity. Apparently I’m not the only one; BOOM! Studios BOOM! Box imprint decided to do a comic book series based on the popular card game Munchkin.

Originally a satire of fantasy roleplaying, the game has since taken on non-fantasy and non-gaming elements, and the new comic series is a direct reflection of that. For anyone that’s never played Munchkin; the game is more of a parody take on card gaming, only with a purpose. Kick open the door. Kill the monster. Steal the treasure. Screw over everybody you come in contact with. Welcome to the quirky world of Munchkin. The book features four stories set in and around the world of the game, featuring Spyke, Flower, and all the other characters, monsters, and settings players have come to love.

Let’s just talk about the best and worst of the stories found in this first issue, because there’s a fit for each. Jim Zub writes a great six page story dealing with one of the game’s most prominent themes, betrayal. One experienced character seemingly guides a noob through a dungeon as he’s simply trying to level up. The jokes in the story are sharp enough that you’ll ignore the “saw that one coming” ending. Tom Siddell’s “Humans Got No Class” story definitely lacks the punch that the others in the book capture. The story is about a group of players trying to lure their friend into joining the game only for the rug to be pulled out from under them. While it has its own charm, the punchline of the story just doesn’t make you laugh as much as the other tales did. Tom also writes a three page opening called “What is a Munchkin?” that’s hilarious.

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For a book that has three different artist; the style feels universal and not one bit out of place in this cover to cover satire on gaming tropes. Mike Holmes, Rian Sygh, and John Kovalic each illustrate a story (sometimes two) and each capture necessary whimsy the sight gags need to keep the readers attention. While Rian’s work is probably the smoothest of the three none ever feel foreign compared to the others.

Overall Munchkin is a fun read for fans and non-fans alike, but any lasting appeal will only land with hardcore fans. Bonus, there’s even an exclusive Up A Level card for players that ships with the first print of every issue. BOOM! Box knows who they’re selling this book to and have designed it that way. If you already know and enjoy the world of Munchkin go pick this up.

 


If you remember the word munchkin as something uncle Jesse called Michelle on Full House then follow Dave on twitter@bouncingsoul217

 

Ten Moments in Boom! Studios History

By Davey Nieves

In 2015, BOOM! Studios celebrates 10 years of publishing comics, and to commemorate this milestone, the publisher has assembled what it considers to be its top 10 moments of the past decade—all highlights that contributed significantly to the company’s founding, rise, and continued growth. Straight from the mouth of BOOM! it reads as a chronological time line of the publishers history.

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December 2004: Comics writer Keith Giffen, in Los Angeles for a comic book convention, has a beer on a Saturday night with Ross Richie and pushes Richie to start his own comic book publishing company.

 

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June 2005: The first BOOM! Studios book, Zombie Tales #1, ships (6/29/2005), showcasing work from Mark Waid (Daredevil), Keith Giffen (Future’s End), and Dave Johnson (100 Bullets). BOOM!’s focus on original content over the next decade spawns bestsellers like Irredeemable, The Woods, and Lumberjanes as it launches the careers of next-generation talent like Rafael Albuquerque (The Savage Brothers, American Vampire), Emma Rios (Hexed, Pretty Deadly), Aaron Kuder (Key of Z, Green Lantern: New Guardians), Jordie Bellaire (Malignant Man, Captain Marvel), and Russell Dauterman (Supurbia, Thor), among many others.

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December 2006: BOOM! Studios publishes its first licensed comic book, Warhammer: Damnation Crusade #1. BOOM! goes on to work with some of the biggest brands in the world, including 20th Century Fox, Disney, Cartoon Network, MGM, Peanuts Worldwide, Paws, and The Jim Henson Company.

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July 2007: Mark Waid is named Editor-in-Chief and goes on to become the company’s Chief Creative Officer, contributing numerous original titles to the company’s lineup before returning to freelance writing in December 2010.

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March 2009: The first KaBOOM! (previously BOOM! Kids) comics, Incredibles: Family Matters #1 and The Muppet Show Comic Book #1, ship (3/25/2009). BOOM! Studios is the first Disney licensee to be granted the ability to generate new canon material for any Pixar property.

 

January 2010: Voted on by comic shop retailers, BOOM! Studios wins its first “Best Publisher Under 4%” Diamond Gem Award for 2009. It is awarded this honor four more times since, earning the award five out of the last six years. The publisher wins its first Harvey Award for Roger Langridge’s work on The Muppet Show Comic Book (8/28/10) that same year and its first Eisner Award for Shannon Wheeler’s I Thought You Would Be Funnier a year later (7/22/11).

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June 2013: BOOM! Studios announces its acquisition of Archaia (6/24/13) (publisher of titles like Mouse Guard, Jim Henson’s Tale of Sand, and The Killer), adding the company as a wholly-owned imprint alongside its other imprints, KaBOOM! and BOOM! Box, and expands the range of diverse content Archaia publishes.

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August 2013: “2 Guns” opens in theaters (8/2/13) starring Denzel Washington and Mark Wahlberg. The film is based on the BOOM! Studios five-issue series created by Steven Grant and illustrated by Mateus Santoluoco.

 

October 2013: BOOM! enters into a first-look deal with 20th Century Fox for feature films (10/2/2013) and then signs a first-look deal with Fox for television the following year (8/20/2014).

 

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February 2014: Former DC Comics President & Publisher Paul Levitz joins BOOM! as a consultant and a member of the Board of Directors. Levitz categorized his role as the voice of experience that says, “Well, we tried to attack that problem this way [at DC Comics]; it didn’t work that way. Maybe times have changed, but let’s think about what the issues were and try to find a way around what the dilemmas were.”

As for the future, Boom! Studios has an entire year full of announcements lined up and are already off to a great start with their new book Burning Fields. It looks like the next ten years could be even bigger for the little publisher that could.


Review: Burning Fields Burns This Mother Down

By Davey Nieves

BURNING FIELDS #1

 

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Story: Michael Moreci, Tim Daniel

Art: Colin Lorimer, Joana Lafuente

Publisher: Boom!

 

In 2014, Curse did something I didn’t think possible. It told a werewolf story that didn’t suck. The 21st century has been all about glamourizing horror to some extent. It was awesome that a book like Curse could come along and craft a raw story about one of the monsters that’s never really received their due, the Werewolf. Now in 2015 the team of Michael Moreci, Tim Daniel, and Colin Lorimer are back to work through more of their demons while sending a chill up your spine.

Their new book, Burning Fields is an analog combination of old school horror like The Thing in combination with the geopolitical drama of a Zero Dark Thirty. Where it plants its feet and sets itself apart is in the perpetual insecurity these pages bring and that is far from a bad thing.

Burning Fields is the story of Dana Atkinson, a dishonorably discharged army investigator, who’s pulled back to the Middle East when a group of American oil technicians disappear under bizarre circumstances. Dana is a true badass with the inner demons to match. In the first few pages we see her razor wit in arguing with her former commander and later her toughness as she dispatches would be assassins. The first issue also touches on the unstable political nature of the Middle East as we see both the American Military and Iraqi people’s side of the conflict. Indeed this entire opening issue leans heavy on tensions of various kinds from interpersonal to political and still manages to let the characters build through this tense fog.

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Colin Lorimer’s illustrations are perfect for a dramatic horror story like this one. He’s no stranger to emotional drama having done books like X-Files, Harvest, and of course Curse. What sets Burning Fields apart from his previous works is how he masterfully brings out the necessary emotion on a page and seamlessly shifts it to a different mood without jarring the audience. On one page he can capture the turmoil in Dana’s eyes to evoke distress while on the very next page call forth the restlessness of local Iraqis in a marketplace standoff. To go along with this exquisite line work are Joana Lafuente’s colors. She uses tones similar to what Patricia Mulvihill used towards the end of 100 Bullets and gets the same moodiness on the pages in a very horror friendly way.

If there’s any flaw with the book it’s that it may not feel necessary to have eight issues by the end of the story. My only minor gripe about issue one was that I’d like to have known more about the supernatural evil Dana uncovers in the oil field which could have cut it down to seven issues. Being fully on for all eight issues I hope they allow all the volatile elements in the story to be breathe enough.

Boom Studios isn’t known for the number of original books but the quality of them. Burning Fields has the potential to not only join Irredeemable, Incorruptible, 2 Guns, and Curse but also surpass them.

 

 

 

 


Talk to Davey on Twitter about Comics, cats, and relationships. He prefers it be about cats. 

 

Image Does Humble Bundle Once Again

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By Bruce Lidl

Lost somewhat in the initial burst of news from last week’s ImageExpo was the announcement of a new Image Humble Bundle offering, beginning that morning and lasting until January 21. The “Humble Image Comics Bundle 2: Image Firsts” is a massive collection of digital comics that can be purchased for whatever price the consumer chooses. Included in the basic bundle are the beginning issues of a number of recent series, including Alex + Ada, Deadly Class, C.O.W.L., Elephantmen 2260 Book One, Minimum Wage, God Hates Astronauts, Genius, and Satellite Sam. Paying at least $15 also gets you the slightly higher profile titles The Manhattan Projects, The Wicked + The Divine, The Fuse, Velvet, Sex Criminals, Wytches, The Walking Dead Vol. 22: A New Beginning (#127-132), The Fade Out #1, Nailbiter, Stray Bullets, Southern Bastards, and Shutter. And finally, a stretch price of $18 brings The Walking Dead Compendium One (#1-48), East of West: The World, and Saga Book One (#1-18). For anybody at all interested in Image brand comics, the price truly cannot be beat, especially as the retail price of the comics would be over $300 according to Humble Bundle. Also, purchasers are strongly encouraged to mark a portion of their price paid towards charity, in this case the comics creator focused Hero Initiative. As of this evening, the Image bundle has generated almost $318,000, with over five days left to go.

The current offering is the third Humble Bundle to include Image titles. The first time Humble Bundle included any digital comics was the Image bundle in April 2014 that generated almost $400,000 revenue in two weeks, with titles including Saga, Walking Dead, Fatale, Invincible and Chew. Image imprint Skybound also did a special Comic-Con Humble Bundle in July 2014 as well, which was almost entirely Kirkman based titles such as The Walking Dead, Invincible, Thief of Thieves, and Super Dinosaur. That bundle alone generated $232,000.

Other comic publishers that have released Humble Bundles since April include Dark Horse, Oni, Dynamite, BOOM!, IDW, Top Shelf and Valiant. According to Kelley Allen, Director of Books for Humble Bundle, comics publishers are eager to work with them, and she has a number of ebook and comics bundles planned in 2015 alongside Humble Bundle’s traditional gaming focused offerings. The average revenue number for the comics based bundles so far has been $288,000 for the 14 day period. According to Allen, non-gaming bundles allow Humble to “break out from their core gaming audience” but from the comics perspective, they can also create “enormous crossover” by getting great comics in front of the very large Humble Bundle community. With a very clearly defined, and devoted, young male demographic, Humble Bundle chooses comics with both a logical appeal, like Transformers, Star Wars and The Walking Dead, but Allen also curates high quality titles that may stretch demographic borders. She “pushed very hard” to include titles like Sex Criminals in the latest Image bundle, trusting the Humble Bundle audience to appreciate an outstanding title, even without prior awareness.

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While the Humble Bundles may help expand the reach of digital comics, they are also helping to encourage comics publishers to feel comfortable with forgoing DRM protections for their products. Humble Bundles, regardless of content, gaming or ebooks, do not use Digital Rights Management anti-copying technologies, both for philosophical reasons and from a practical standpoint. As Allen pointed out, why use DRM when the consumer could theoretically decide to purchase the content for one cent in any case? Even Dark Horse, which has been very reluctant to forgo DRM generally, was convinced to try not using it for their big Star Wars themed Humble Bundle in October and was rewarded with sales over $375,000 for the two week offering.

Fundamentally, the Humble Bundle “pay what you want” approach reflects exactly the insights independent game developers have learned over the years in regards to digital sales. Since their products are almost universally available to be pirated, often in formats that are actually *more* user friendly than the official versions, game creators have learned to embrace the concept of giving customers compelling reasons to purchase, in the recognition that they do not have to anymore. Distribution options like Steam and Humble Bundle provide explicit value beyond what a pirated version can give, whether through ease of use, personal connection to the creators, community recognition, charitable giving, etc. The Humble Bundle experiment really leverages the unique potential of digital distribution, as the pay what you want model could not really scale in a system that necessitated fulfillment and postage charges. With this almost “donation” type model there is no extra expense for the seller after the first sale, everything after that is essentially “profit.” And the possibility that the new readers exposed to the material may become fans, and go on to make further purchases, even print purchases in local comic books stores, only heightens the value of the Humble Bundle offering. We are likely to see a number of interesting comics based bundles in 2015 and we will learn if this kind of non-traditional sales can become a significant portion of publishers’ revenue, in much the same way digital has already established itself recently.

Madeleine Flores’ Help Us! Great Warrior coming from Boom Box!

Boom!’s creator-driven Boom ox line is expanding next month with Help Us! Great Warrior from Madeline Flores. It’s based on her webcomic and follows a Great Warrior who keeps her village safe., and the appeal to the crowd that likes Lumberjanes is obvious.

Covers and variants:

Help Us! Great Warrior #1 Main Cover by Madeleine Flores

Help Us! Great Warrior 10 Years Incentive Cover by Shelli Paroline and Braden Lamb

(Full wraparound image shown)

Help Us! Great Warrior #1 Retailer Incentive Cover by MAiS2

Review: Friends with and without feathers flock together in Feathers #1

 

by Edie Nugent

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Art by Jorge Corona

 

Written by: Jorge Corona

Art & Cover by: Jorge Corona

Published by: Archaia/Boom! Studios

Writer/Artist/Creator Jorge Corona gives us a lot to chew on in issue one of his new series Feathers: there’s a disembodied duo who appear only in voice over; a gleaming white-walled citadel surrounded by poorer districts and a class system to match; a faceless, whistling villain who preys on children and never forgets his muffler; and, of course, a little boy covered in the feathers that gives the book it’s name.

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Corona, who recently made his comic debut with the Image series Goners last October, draws you in with a well-rendered world that immediately impresses upon the reader that Feathers is a tale of two cities: the well-fortified and wealthy white city and it’s poor surrounding area known as the “Maze.” There’s a real fairy-tale quality to the writing and the art, which deftly sets the stage for the story of a young orphan covered in feathers who is discovered by a tatty older man named Gabriel. While searching through garbage in an adjoining alley, Gabriel hears the cries of the strange, bird-like baby and rescues him from the streets.

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Not a moment too soon, either, as two young urchins nearby also hear those same cries — only to be set upon by the aforementioned mysterious villain whose shadowy, scarf -wrapped appearance recalls nothing more than Orko from the He-Man and the Masters of the Universe cartoon. It’s to Corona’s credit that this comparison does nothing to detract from said villain’s imposing stature. The figure whistles to announce his arrival and does something terrible to the pair of urchins off-panel, but not before he notices the supernatural feathers left behind by our titular character’s molting.

A time jump flashes forward and finds our feathered friend in his pre-pubescence, running around the rooftops of the Maze and assisting the children of it’s streets in stealing apples from a local merchant with a little artful dodging while managing to remain hidden.

feathersAt the same time, the inhabitants of the mysterious white city within the Maze debate the need to construct a road to run through the Maze to connect their city to the outer harbor. Nobleman Lord Chappelle’s family and advisers differ on their opinion of the Maze, with his wife Eleanor name checking an entity known as the “White Guide” (perhaps one of the disembodied voices whose debate opens the book?) and crediting faithful devotion to that being for the safety their white city enjoys. The couple’s young daughter, Bianca, is entranced by the allure of the Maze — and successfully begs to be included in a trip through it’s streets with her father. The difference in Corona’s choice of coloring and perspectives here is subtle, but nicely highlights the difference in the white cities’ haves to the Maze’s have-nots.

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We return to the streets of the “Mazefolk” and discover that Gabriel has named the feathered boy “Poe,” in a literary nod to Edgar Allen, no doubt. The whistling, red-scarfed villain makes another appearance as Gabriel and Poe scavenge the streets by night — though our heroes manage to escape his notice. The perspective and rendering of the panels continues to give great effect here; both the allure and danger of the Maze’s winding streets is palpable.

Bianca’s trip with Lord Chappelle through the Maze reaches a predictable meet-cute ending to the first issue of Feathers, but here ‘predictable’ is not meant as criticism — but rather another way in which the book invokes the feel of a fable. I’m eagerly awaiting issue two of Feathers, where we’ll see if Corona’s story and art continue to be as strong as the opening installment in this all-ages tale.

 

Brisson and Couceiro Go BOOM! with Cluster #1

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Ed Brisson of Sheltered and Sons of Anarchy fame has just announced a brand new project over at BOOM! Studios entitled Cluster. The book follows Samara, the leader of a group of cons. Samara is sentenced to prison for her crimes, and then given an option to join to go kill aliens on a planet called Midlothian or stay in jail. Samara chooses to join the military cause leaving her stranded on a planet with a horde of baddies. Damian Couceiro, who has previously worked with Brisson on Sons of Anarchy and Murder Book, is joining the author with illustrations on the title.

Brisson elaborates further on the premise in this quote from CBR who also announced the title:

BOOM-Cluster-001-D-Declan-Shalvey-1f7a2I don’t want to give away too much, but will say that a lot of the people serving time have bogus sentences. In the story, you can trade your life sentence in for a tour of duty — get out in 15 years. But, what constitutes a life sentence? In a future where both the military and prison system are privatized, where they feed into one another, is anyone going to get a fair shake?

The author also teased that there may be something deeper going on than meets the eye in Cluster:

Our lead character in the book, Samara, is someone who could have avoided being there. Her father is in a position where he may have been able to prevent her from spending time in prison, let alone serving 15 years fighting aliens on a distant planet. However, she’s there because she has a desire to pay penance for what she’s done, something that we don’t quite learn until much later on.

Cluster #1 is available at finer comic shops on February 4th.

Let’s get dangerous: Darkwing Duck writing credit kerfuffle

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This thing is going on with a new publisher called Joe Books, and the credits on Boom! Studio’s long ago (2010) Darkwing Duck series. Yes. The Outhouse has a succinct round-up but as best as I can make out, here’s what happened:

* In 2010 Boom! published a Darkwing Duck comic book, edited by Aaron Sparrow and written by Ian Brill.

* Sparrow left Boom! after three issues were published. Depending on who you ask, he either left notes for Brill or actually wrote most of the subsequent series, leaving Brill’s name as writer on the credits.

* In the intervening years, Sparrow and Brill engaged in an internet kerfuffle over who actually wrote these books. (Links are in the Outhouse piece, and I’m not gonna look them up.)

* In recent days, a new publisher has emerged, Joe Books, led by Adam Fortier, formerly of Speakeasy and Boom and several other places. While they haven’t been making a lot of pr moves, they did announce a Darkwing Duck omnibus in this month’s Previews…with Sparrow rewriting it to bring it closer in line to his vision, as related by artist James Silvani:

Aaron Sparrow, the editor and driving force of the DW comics has gone back and painstakingly rewritten the book to bring it in step with the classic Disney Afternoon series. I also had the opportunity to revisit the art and make this edition the true Terror That Flaps In The Night. This omnibus also features the stellar work of Darkwing creator Tad Stones, artist Sabrina Alberghetti, writer Ian Brill, colorists Andrew Dalhouse and Lisa Moore, letterer Deron Bennett and cover artist Amy Mebberson.

* This led Brill to take to Tumblr to state how hurt he was by all this:

Currently a reprint collection of the Darkwing Duck comic that we worked on in 2010 and 2011 is being offered in Previews. In the announcement of this collection it said to be “painstakingly rewritten” to “bring it in step with the classic Disney Afternoon series.” We believe that this will not be the book that readers enjoyed when the series was originally published. We do not feel it is right to rewrite comics for a reprint collection. Since we feel this book will not reflect our intentions for the material we wish for our names to be removed from the book, and for our names to not be used in the promotion of the book. We have contacted Joe Books and made this request. This is our only and final comment about the situation. 

-Former Darkwing Duck writer Ian Brill and former Darkwing Duck editor Christopher Burns

* So heated was the controversy that former Boom! marketing director Chip Mosher chimed in on the situation with his own timeline, supporting Brill.

Could James, the artist on the book, have communicated with his good friend Aaron about each issue and then incorporated some of Aaron’s comments in future issues even though Aaron wasn’t officially involved in the series? Sure. I expect as much as they are very close. But that’s not “writing” or “co-writing.” Ian sat down at his laptop on every script. He broke down the pages and story beats and wrote the dialogue. That’s what writers do. They write!

It’s always disappointing in comics to see someone take credit for another’s hard work. I give Aaron a ton of credit for getting the series going at BOOM! and keeping the Darkwing Duck flame alive for the past three years. But I have real problems with him taking credit for Ian’s work and I think everyone who has written a comic would find it painful to have their former editor re-write their work without asking them about it first. It’s just a really sad, sad situation.

And there you have it.

What no one has come out and said is….IT’S FREAKING DARKWING DUCK, NOT THE WORKS OF SHAKESPEARE!

I poked around and found…passions running high on this topic! Disney fans seem to have taken up the “Sparrow Is The Original Author” campaign on various forums, which is…just like Disney fans. That is all I will say about that. I also understand that many times Disney proper tinkers with licensed work in various formats, and this may be one of those things.

Still…it’s Darkwing Duck! A character I worked on during my Disney years and loved very much. Gosslyn and Launchpad and Negaduck…it was a pretty good world. I’ve never read these new comics, but I’m sure they’re fine whoever wrote them, but my advice to Sparrow (who I don’t know) and Brill (who used to write for me when he was a journalist) is move on and create something of your own!

If you want a REAL Darkwing Duck scandal, read this post by the great Doug Gray on how I, as editor, ruined his marvelous “Darkwing vs. Fluffy Trilogy” stories from 1993! This was one of my favorite stories I got to edit at Disney Adventures, and I don’t remember why I made so many changes but…Doug, I’m sorry. I would do it all differently now.

I haven’t seen much press from Joe Books aside from some stuff on BC. The website is minimal. Piecing all this together it looks like they have the Disney/Pixar comics license for a while, so all I can say is: TALESPIN. IT IS TIME.

Boom! Studios celebrates 10 years with variant covers

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Boom! Studios is turning 10 in 2015, as we mentioned the other day. And Publisher Ross Richie has every right to make a victory lap—he;s stayed lean and smart, put out some good yarns, picked up some game-changing licenses such as Adventure Time, and even made a pretty good movie (Two Guns.) The 10th anniversary hoopla will be marked by special variant covers. Every new launch will have a special variant “10 Years” cover … but perhaps it’s best if I quote the press release to explain what is going on, because it’s a little complicated. But I’m sure the covers will look very nice.


Every launching issue in 2015 will include a uniquely designed “10 Years” incentive variant cover featuring work by one of 16 of the industry’s best cover artists. Each artist (or artist team) will provide all the covers to all of the newest titles coming out from BOOM! or one of its imprints (KaBOOM!, Archaia, and BOOM! Box), with the roster rotating each quarter. The special “10 Years” covers will be retailer incentives available to order for retailers for every 10 copies they order of the title’s main cover.
 
For the first quarter of 2015 (January-March), the artists are:
 
• All launching BOOM! Studios titles: Trevor Hairsine (Captain America, Eternal Warrior)
• All launching KaBOOM! titles: Joe Quinones (Harley Quinn, Big Trouble in Little China)
• All launching Archaia titles: Ramón Pérez (Amazing Spider-Man, Jim Henson’s Tale of Sand)
• All launching BOOM! Box titles: Shelli Paroline & Braden Lamb (Adventure Time, The Midas Flesh)
 
Cover artists for the remaining quarters of 2015 will be announced at a later date.
 
In January, new launching titles to receive the “10 Years” Cover treatment include:
 
• Burning Fields #1 (BOOM! Studios)
• Adventure Time: Marceline Gone Adrift #1 (KaBOOM!)
• Feathers #1 (Archaia)
• Munchkin #1 (BOOM! Box)
 
The cover images will be revealed closer to each title’s order deadline.
 
In addition, BOOM! will select one launching title each month and slip one, rare exclusive cover intermixed into every 100 copies of the main cover printed. Dubbed the Jackpot Variant, these special covers will show up randomly at any comic shop that orders at least one copy of the title. For January, that title is Munchkin #1, a new ongoing series from BOOM! Box based on the hit adventure card game. The Jackpot Variant cover for Munchkin #1 is illustrated by Evan Palmer (Cooking with Food).
 
Finally, should any of its new titles in 2015 launch with a final combined initial order of over 10,000 copies, BOOM! will unlock an additional 1-in-10 intermixed special variant that will ship with the main cover.
 
To help mark its 10th anniversary, BOOM! will include a new “10 Years” trade dress logo that will be featured on the covers of all its single-issue releases in 2015.

“We’re very proud to reach our 10th anniversary here at BOOM! Studios, so to celebrate, we wanted to make sure we included the people that helped us get where we are today: comics retailers and fans,” said BOOM! Studios Editor-in-Chief Matt Gagnon. “This yearlong program brings in some of the best artists in the industry and is designed to celebrate this milestone with all of our supporters. I can speak for our entire team when I say we’re looking forward to the next 10 years of publishing great comics!”

Nice Art: All the new and kids titles from Boom! Studios in January

We haven’t done a ton of solicitation listings at the Beat recently, but it’s something we’re going to start up again, because…well, look at all the nice art. Here are the #1s and the Kaboom and Boombox titles from Boom’s January solicitations—new creator owned titles include Feathers, a smart looking new kids title, and Burning Fields, a caper with a burning Iraqi oil field as the setting.

Also here are all the KaBOOM titles for January with as many variant covers as have been released by some funky fresh artists like Ian McGinty, Lorena Gomez and Christine Larsen.

Finally, it’s Boom!’s 10th anniversary in 2015, represented here by PLACEHOLDER cover graphics, and while I’ll never forget wondering why Ross Richie was crazy enough to get into the pamphlet business, I think we’re all glad he had a plan and stuck with it.

Not included here, licensed titles, Archaia and graphic novels.

BOOM! STUDIOS ITEMS
SHIPPING IN JANUARY 2015
(NOVEMBER ISSUE OF ‘PREVIEWS’)
(Please note: All covers designated as a “10 Years Cover” below will be revealed at a later date.)NEW LAUNCHING SINGLES
BOOM! STUDIOS
BURNING FIELDS #1 (of 8)
Retail Price: $3.99
Authors: Michael Moreci & Tim Daniel
Artist: Colin Lorimer
Cover Artists:  A: Colin Lorimer B: Trevor Hairsine (10 Years Cover) (INCENTIVE) C:Riley Rossmo (INCENTIVE)
WHY WE LOVE IT: After the critical acclaim of Curse, we couldn’t wait to work with Michael Moreci, Tim Daniel, Colin Lorimer, and Riley Rossmo again—and just as they reinvented the werewolf tale, their modern take on military horror got under our skin.
WHY YOU’LL LOVE IT: The team that brought you one of the best-reviewed comics of 2014 returns in 2015 to create a new horror tale unlike any other. A geopolitical drama with monster mythos, Burning Fields is a story for both fans of Zero Dark Thirty and The Thing, as the writers of Roche Limit and Enormous explore the evil that lurks when greed drives one to drill too deep into the unknown.
WHAT IT’S ABOUT: Dana Atkinson, a dishonorably discharged army investigator, is pulled back to the Middle East when a group of American oil technicians disappear under bizarre circumstances. With the help of an Iraqi investigator, what Dana discovers is unimaginable: A series of unusual incidents at the drill site lead her and her unlikely ally to discover a mythic evil that has been released, one that threatens both the lives of the entire region and the fragile peace that exists
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Burning Fields #1 Main Cover A by Colin Lorimer
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Burning Fields #1 Retailer Incentive Cover B (1:10) by Trevor Hairsine
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Burning Fields #1 Retailer Incentive Cover C (1:20) by Riley Rossmo
NEW LAUNCHING SINGLE

KABOOM! STUDIOS

ADVENTURE TIME: MARCELINE GONE ADRIFT #1 (of 6)
Retail Price: $3.99
Author: Meredith Gran
Artist: Carey Pietsch
Cover Artists: A: Reimena Yee B: Mychal Amann (Subscription Cover) C: Joe Quinones (10 Years Cover) (INCENTIVE) D: Britt Wilson (INCENTIVE)
WHY WE LOVE IT: Marceline and the Scream Queens was our first Adventure Time miniseries and we loved the tour Meredith Gran took us on. It’s definitely time for more Marceline and what better way to get everything rolling than with an epic that takes Marceline and Princess Bubblegum to the far corners of the world and into space!
WHY YOU’LL LOVE IT: Marceline. The. Vampire. Queen. From the writer that brought you Marceline and the Scream Queens, Meredith Gran (Octopus Pie), and introducing indie talent Carey Pietsch, this is your chance to get some one-on-one time with one of your favorite residents of Ooo.
WHAT IT’S ABOUT: Marceline is on a rampage for mysterious reasons, and the kingdom of Ooo is desperately scrambling to stop her. In trying to save both Ooo and Marceline herself, Princess Bubblegum accidentally propels Marceline into the farthest reaches of space…and strips her of her powers! Guilt-ridden, Princess Bubblegum sets off on a space rescue that’ll test the power of her mind…as well as the power of friendship.

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Adventure Time: Marceline Gone Adrift #1 Main Cover A by Reimena Yee
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Adventure Time: Marceline Gone Adrift #1 Subscription Cover B by Mychal Amann
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Adventure Time: Marceline Gone Adrift #1 Retailer Incentive Cover C (1:10)
by Joe Quinones
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Adventure Time: Marceline Gone Adrift #1 Retailer Incentive Cover D (1:20) by Britt Wilson

NEW LAUNCHING SINGLE
BOOM! BOX

MUNCHKIN #1
Retail Price: $3.99
Authors:  Tom Siddell, Jim Zub & John Kovalic
Artists: Mike Holmes, Rian Sygh, & John Kovalic
Cover Artists: A: Ian McGinty 99% B: Evan Palmer 1% C. Shelli Paroline & Braden Lamb (10 Years Cover) (INCENTIVE) D. John Kovalic (INCENTIVE)
WHY WE LOVE IT: As long-time fans of the game, we’re jazzed to weave stories out of the world of Munchkin, whether it’s from the perspective of one Munchkin, a gang of them, or even one of the monsters that live behind the doors!
WHY YOU’LL LOVE IT: Kick open the door. Kill the monster. Steal the treasure. Screw over everybody you come in contact with. Welcome to the world of Munchkin, a gathering of stories based on the popular game series. It’s a laugh a minute, pal. Plus, every first printing of every issue will ship with an exclusive card for the game.
WHAT IT’S ABOUT: Based on the immensely popular card game, Munchkin comes to comics! Munchkin takes place in a very flexible mashup of genres. Originally a satire of fantasy roleplaying, it has since then taken on non-fantasy and non-gaming elements. Characters in Munchkin change constantly but never permanently. What do Munchkins do? They play for the win. They are rules lawyers. They backstab. They gloat. They whine when someone else backstabs or gloats. Munchkins are emotional. Munchkins may be clever, but they are never wise. Munchkins have short attention spans. Munchkins may be brave in the face of awful odds, but they are even braver when beating up crippled goblins for their lunch money. If a Munchkin seems to show mercy, it’s because he was bored or distracted. After all, even stomping an ant helps you level up.

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Munchkin #1 Main Cover A by Ian McGinty
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Munchkin #1 Chase Cover B (1:99) by Evan Palmer
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Munchkin #1 Retailer Incentive Cover C (1:10) by Shelli Paroline & Braden Lamb
Munchkin #1 Cover D by John Kovalic
Munchkin #1 Retailer Incentive Cover D (1:20) by John Kovalic
NEW LAUNCHING SINGLE
ARCHAIA
 

FEATHERS #1 (of 6)
Retail Price: $3.99
Author: Jorge Corona
Artist: Jorge Corona
Cover Artists: A: Jorge Corona B: Ramón K. Pérez (10 Years Cover) (INCENTIVE) C:Ken Niimura (INCENTIVE)
WHY WE LOVE IT: In the footsteps of Archaia titles like Rust, Iron, Will o’ the Wisp, andThe Reason for Dragons, debut writer-artist Jorge Corona (Goners) brings a brand-new voice to the comics industry with Feathers. With our passion for working with fresh talent, we could not be happier to introduce his work to a wider audience.
WHY YOU’LL LOVE IT: There’s never been a better time for fantastic, all-ages comics that embrace both the darkness and beauty in life. Fans of Avatar: Legend of Korra, Mike Mignola, and Amulet will fall in love with Poe, the boy covered in feathers.
WHAT IT’S ABOUT: A recluse boy born covered in feathers must help his first-ever friend, a young girl named Bianca, as she tries to return to her home beyond the slums of the Maze. They must dodge street gangs and child-snatchers along the way, and perhaps together will learn the secrets to his mysterious past.ARCHAIA_Feathers_001_A
Feathers #1 Main Cover A by Jorge Corona
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Feathers #1 Retailer Incentive Cover B (1:10) by Ramón K. Pérez
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Feathers #1 Retailer Incentive Cover C (1:20) by Ken Niimura

KABOOM! STUDIOS

ABIGAIL AND THE SNOWMAN #2 (of 4)
Retail Price: $3.99
Author: Roger Langridge
Artist: Roger Langridge
Cover Artist: Roger Langridge
It didn’t take long for Abigail to warm up to the idea of having a Yeti as a best friend, but no matter how much fun the two friends have together, they can’t avoid the mysterious men in town up to no good and in search of the Abominable Snowman.KABOOM_Abigail_and_the_Snowman_002

Abigail and the Snowman #2 Cover by Roger Langridge
CAPTURE CREATURES #3
Retail Price: $3.99
Authors: Frank Gibson & Becky Dreistadt
Artist: Becky Dreistadt
Cover Artists: A: Becky Dreistadt 90% B: Lorena Gomez 10% C: Maryanna Hoggatt (INCENTIVE) D: Maggie Rudy (INCENTIVE)
The mystery is only getting stronger but as our heroes are about to learn, maybe it’s not their job to save the critters…the critters just might be here to save them. It’s going to be a super fun ride as these creatures turn up the heat…literally.KABOOM_Capture_Creatures_003_A
Capture Creatures #3 Main Cover A by Becky Dreistadt
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Capture Creatures #3 Chase Cover B (1:10) by Lorena Gomez
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Capture Creatures #3 Retailer Incentive Cover C (1:15) by Maryanna Hoggatt
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Capture Creatures #3 Retailer Incentive Cover D (1:25) by Maggie Rudy
UNCLE GRANDPA #4
Retail Price: $3.99
Authors: Yehudi Mercado, David Degrand, Pranas Naujokaitis, Nichol Ashworth, & Various
Artists: Yehudi Mercado, David Degrand, Pranas Naujokaitis, Nichol Ashworth, & Various
Cover Artists: A. Zé Burnay 90% B. Cory Fuller 10% C. Christine Larsen (INCENTIVE)
It’s time for a new issue of Uncle Grandpa, starring me, Pizza Steve! Uncle G may be the Uncle and Grandpa to everyone ever, but he has a lot to learn if he ever wants to be the coolest slice of pizza to ever put on a pair of sunglasses and pull off the most wicked pranks.KABOOM_Uncle_Grandpa_004_A
Uncle Grandpa #4 Main Cover A by Zé Burnay
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Uncle Grandpa #4 Chase Cover B (1:10) by Cory Fuller
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Uncle Grandpa #4 Retailer Incentive Cover C (1:20) by Christine Larsen
STEVEN UNIVERSE #6
Retail Price: $3.99
Author: Jeremy Sorese & Various
Artist: Coleman Engle & Various
Cover Artists: A. Tait Howard 90%  B. Meg Gandy 10% C. Helen Yoon (INCENTIVE)
Connie and Stephen might have finally found a way to save the library, .but how much is it going to cost the Gems? It’s an actual race against time to keep books for everyone. Hopefully people will still be there to read them when it’s all over.KABOOM_Steven_Universe_006_A
Steven Universe #6 Main Cover A by Tait Howard
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Steven Universe #6 Chase Cover B (1:10) by Meg Gandy
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Steven Universe #6 Retailer Incentive Cover C (1:20) by Helen Yoon
THE AMAZING WORLD OF GUMBALL #8
Retail Price: $3.99
Author: Frank Gibson
Artist: Tyson Hesse
Cover Artists: A. Missy Pena  B. Zachary Giallongo (Subscription Cover)  C. TBD (INCENTIVE)
Anais is tired of her brothers always getting in trouble and has finally devised a plan so that she can have a quiet weekend with no issues. She definitely underestimated Gumball’s abilty to make every day…special.KABOOM_Amazing_World_of_Gumball_008_A
The Amazing World of Gumball #8 Main Cover A by Missy Pena
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The Amazing World of Gumball #8 Subscription Cover B by Zachary Giallongo
REGULAR SHOW #19
Retail Price: $3.99
Author: Nick Sumida
Artist: Allison Strejlau
Cover Artists: A: Andy Hirsch  B: Andy Kluthe (Subscription Cover) C: Natalie Andrewson (INCENTIVE)
Rigby and Mordecai’s wishes keep spiraling out of control, but a trip to Genie Beach might offer a solution! Or, um, it might make everything way, way worse.KABOOM_Regular_Show_019_A
Regular Show #19 Main Cover A by Andy Hirsch
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Regular Show #19 Subscription Cover B by Andy Kluthe
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Regular Show #19 Retailer Incentive Cover C (1:20) by Natalie Andrewson
BRAVEST WARRIORS #28
Retail Price: $3.99
Author: Kate Leth
Artist: Ian McGinty
Cover Artists:  A: Ian McGinty 50% B: Priscilla Wong 50% C: Rachael Hunt (INCENTIVE)
It’s the epic conclusion to the Bravest Warriors’ battle to save the planet Vira alongside all-new, super-rad ally, Peach. Giant monsters versus giant robots, Bravest Warriors style!KABOOM_Bravest_Warriors_028_A
Bravest Warriors #28 Cover A by Ian McGinty
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Bravest Warriors #28 Chase Cover B (1:2) by Priscilla Wong
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Bravest Warriors #28 Retailer Incentive Cover C (1:15) by Rachael Hunt
GARFIELD #33: HIS 9 LIVES, PART 1 (of 4)
Retail Price: $3.99
Authors: Scott Nickel
Artists: Andy Hirsch, David DeGrand & Kari Smith
Cover Artists: A: Andy Hirsch B: Kari Smith (INCENTIVE)
WHY WE LOVE IT: In 1984, Jim Davis created a groundbreaking series of illustrated short stories called Garfield: His 9 Lives, setting the Fat Cat in various eras, that became an instant classic. We loved it so much we wanted to do it again!
WHY YOU’LL LOVE IT: Even if you’ve never read the original His 9 Lives stories or watched the 1988 animated special, you’ll enjoy these unique interpretations by an all-star cast of cartoonists, including Andy Hirsch, David DeGrand, Roger Langridge, Frazer Irving, and Genevieve FT, as they depict Garfield through the ages, from prehistoric times, to the reaches of outer space.
WHAT IT’S ABOUT: “Garfield: His 9 Lives, Part 1.” The journey begins with “Cave Cat,” as David DeGrand takes us back to Garfield’s first life, during the earliest days of life on Earth! Then, Kari Smith illustrates “King Cat,” as we see how Garfield got down in Ancient Egypt.KABOOM_Garfield_033_A
Garfield #33 Main Cover A by Andy Hirsch
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Garfield #33 Retailer Incentive Cover B (1:10) by Kari Smith
ADVENTURE TIME #36
Retail Price: $3.99
Author: Chris Hastings
Artist: Zachary Sterling
Cover Artists: A: Justin Hillgrove B: Ale Giorini (Subscription Cover) C: Rebekka Dunlap (INCENTIVE)
It’s the first Adventure Time starring its new creative team! With indie all-star Chris Hastings writing and the amazingly talented Zachary Sterling on art, these mathematical adventures are only going to get more algebraic!KABOOM_Adventure_Time_036_A
Adventure Time #36 Main Cover A by Justin Hillgrove
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Adventure Time #36 Subscription Cover B by Ale Giorini
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Adventure Time #36 Retailer Incentive Cover C (1:20) by Rebekka Dunlap
ONGOINGS AND LIMITED SERIES
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TEEN DOG #5 (of 8)
Retail Price: $3.99
Author: Jake Lawrence
Artist: Jake Lawrence
Cover Artist: Jake Lawrence
Do you hear that? Do you hear those sweet summer jamz? The sound of sneaking into a venue to see your favorite band? The echos of the needle first hitting a new record? Teen Dog gets groovy in this musical issue, even if he can’t even really play the guitar.BOOMBOX_Teen_Dog_005

Teen Dog #5 Cover by Jake Lawrence
LUMBERJANES #10
Retail Price: $3.99
Authors: Noelle Stevenson & Shannon Watters
Artist: Carolyn Nowak
Cover Artists: A. Carolyn Nowak B. Kat Leyh (INCENTIVE)
It’s a free day at Lumberjanes camp, and the Roanoke cabin is…bored out of their skulls. With nothing to fight the girls set themselves to earning all the badges they can that don’t involve monsters or the supernatural, which is surprisingly hard! When Mal and Molly sneak off in search of real adventure (that won’t put them to sleep!), they accidentally stumble into something more than they ever bargained for…BOOMBOX_Lumberjanes_010_A
Lumberjanes #10 Main Cover A by Carolyn Nowak
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Lumberjanes #10 Retailer Incentive Cover B (1:20) by Kat Leyh

31 Days of Halloween: Diamond’s Comicfest and Boom! Studos Halloween Frightfest

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Comics biggest distributor Diamond has slowly been working to make Halloween a huge promotional day for comics shops, with special comics, contests and more. Let’s face it, it doesn’t take too much to get in the Halloween mood, and the promotion has been a big success. You can see a list of special Halloween comcis on the Halloween Comicfest website, such as this one spotlighting Boom! Studios spooky anthology with seasonal stories from Adventure Time, Fraggle Rock and more. This particular story features writing by Bryce Carlson and art by Frazer IRving in a VERY DIFFERENT Adventure Time story.

 

NYCC ’14: Hitch a ride with Uber in their Comic Cars

As everyone knows, the worst thing about the Javits Center besides the oppressive low ceilings and lack of affordable food is getting away from it , since catching a cab on the West side is impossible and the 7 subway extension hasn’t opened yet. Sigh. But Uber will be there and they’ve teamed up with a bunch of comics companies  and Chevy to wrap nine cars. There will also be prizes and giveaways and …stuff. And if you tweet about your ride with the hashtag #chevynycc you may be named one of the 10 best photos. I believe this is the last day you can get a free ride however.

I’m told that getting an Uber at Javits is just as hard as getting a car, but you can bet a lot of people will be Ubering it up.

As part of the partnership, Chevrolet will wrap nine different vehicles that fans can Uber to New York Super Week, throughout New York City. Some of these cars will also be on display at the Javits center during NYCC. The full lineup of cars can be found below:

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  • BOOM! Studios – Chevrolet Cruze will be wrapped with various characters from Boom! Studios.

  • Dark Horse – Chevrolet Volt will be wrapped in characters from the Fire & Stone comic book series featuring Aliens, Predator, Prometheus, and Alien vs. Predator.

  • Image – Chevrolet Sonic will be wrapped with imagery from the new hit series WYTCHES, by comic superstars Scott Snyder and Jock.

  • Valiant Entertainment – Chevrolet Equinox will be wrapped with artwork from the upcoming series The Valiant – by New York Times best-selling writers Jeff Lemire & Matt Kindt and Eisner Award-winning artist Paolo Rivera.

  • IDW – Chevrolet Equinox will be wrapped with images of the famed Eric Shanower and Gabriel Rodriguez comic character Little Nemo.

  • New York Super Week – Chevrolet Tahoe will be wrapped with New York Super Week artwork..

  • Random House – Chevrolet Tahoe will be wrapped with classic characters and scenes from George R.R. Martin’s new book, The World of Ice and Fire: The Untold History of Westeros and the Game of Thrones.

  • SEGA – Chevrolet Suburban will be wrapped with Sonic the Hedgehog and friends from SEGA’s upcoming Sonic Boom video games and animated series.

  • TBS – Chevrolet Impala will be wrapped with characters from Seth McFarlane’s hit series American Dad.