History

The Beat catches up with Howard Cruse for Pride Month.

The wholesome and the horrific have always been close throughout Archie Comics history.

Yes we cannabis in Box Brown's latest original graphic novel.

The Daughters of Salem, The Freak, and Misty Vol. 3 reviewed

As far as Muslim representation among superheroes goes, Kamala Khan a.k.a Ms. Marvel has been one of the most successful in a thin field....

The midterm elections are upon us and we need comics to survive it. This year’s voter turnout is projected to rival that of the 1960s,...

Comics veterans Joe Quesada and Bill Schanes are dipping into their scrapbooks for some peeks into comcis history.

In a very thoughtful and carefully constructed manner, Adam Allsuch Boardman brings forth a tight, interesting book detailing everything you need to know about...

Legendary creator, writer, and artist Neal Adams talks about the historical vitality of comics to tell stories about the Holocaust and the present need for Holocaust education.

Over the years that I’ve contributed for The Beat, I’ve gotten to preview some pretty-interesting projects in the making, as well as talk to their equally-interesting creators. A little more than two years ago, I had a phone interview with two women who called themselves the “Gibbs Girls.” They were working on a steam-punk inspired comic that takes place at the dawn of the 20th century and during the Industrial Age. The story followed a female, African American inventor named Ada Turner who creates the first flying machine. Last week, the Gibbs Girls reached out and informed me that the comic had finally come out.

Looking back, Berger could see how the idea was very much in Shelley Bond’s and Vertigo’s interests. “The thing about Grimm Fairytales, the real fairytales, are that they are frick’n scary and bloody,” she said. “There is something domesticated about them nowadays… And I think most people today have their ideas of fairytales because of Disney.”

“It was quite a challenge because it was unlike anything DC had done,” said Bruning. Though they had been in the industry for years, they didn’t know how to deal with online talent and online competition. In many ways, they had to “rebuild” and rework their established view of comics.