ComicsAlliance

Aug 22

ASK CHRIS #208: WORLDS WILL LIVE, WORLDS WILL DIE, AND ‘CRISIS ON INFINITE EARTHS’ IS BASICALLY A MESS
By Chris Sims
Q: I was reading your column about New Teen Titans where you said Crisis on Infinite Earths was a mess, but a topic for another time. Care to explain now? — @jeremyliveshere
A: The one thing you can’t say about Crisis on Infinite Earths is that it didn’t deliver on its promise. In a time when “event” comics were still in their infancy, Crisis came out of the gate promising to be the biggest thing that had ever or would ever hit comics, and looking back on it from almost thirty years later, it’s hard not to admit that even with a comic rolling out every six months like clockwork that promises to change everything forever, it’s still the one that actually did it. Worlds did live, worlds did die, and nothing actually was the same again.
It just also happens to be a story that’s a complete friggin’ mess.
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ASK CHRIS #208: WORLDS WILL LIVE, WORLDS WILL DIE, AND ‘CRISIS ON INFINITE EARTHS’ IS BASICALLY A MESS

By Chris Sims

Q: I was reading your column about New Teen Titans where you said Crisis on Infinite Earths was a mess, but a topic for another time. Care to explain now?  @jeremyliveshere

A: The one thing you can’t say about Crisis on Infinite Earths is that it didn’t deliver on its promise. In a time when “event” comics were still in their infancy, Crisis came out of the gate promising to be the biggest thing that had ever or would ever hit comics, and looking back on it from almost thirty years later, it’s hard not to admit that even with a comic rolling out every six months like clockwork that promises to change everything forever, it’s still the one that actually did it. Worlds did live, worlds did die, and nothing actually was the same again.

It just also happens to be a story that’s a complete friggin’ mess.

READ MORE

BRUBAKER & PHILLIPS’ HOLLYWOOD NOIR ‘THE FADE OUT’ IS THEIR MOST AMBITIOUS COLLABORATION YET [REVIEW]
By John Parker
We can all agree that Ed Brubaker and Sean Phillips form one of the most successful comics collaborations of all time, right? Over the last fifteen years the pair have routinely produced some of the best comics of the present age – Sleeper, Incognito, about a thousand pages of Criminal, and the just-completed Fatale. They’re the Stan Lee and Jack Kirby of smart, stylish, noir-tinged genre comics. Whenever their names appear together on a cover, it’s practically a guarantee of excellence.

Now, after years of telling stories influenced by classic film noir, Brubaker and Phillips head directly to the source with The Fade Out, a dark and enthralling mystery about the dark truths behind the myth of old Hollywood.
READ MORE

BRUBAKER & PHILLIPS’ HOLLYWOOD NOIR ‘THE FADE OUT’ IS THEIR MOST AMBITIOUS COLLABORATION YET [REVIEW]

By John Parker

We can all agree that Ed Brubaker and Sean Phillips form one of the most successful comics collaborations of all time, right? Over the last fifteen years the pair have routinely produced some of the best comics of the present age – Sleeper, Incognito, about a thousand pages of Criminaland the just-completed FataleThey’re the Stan Lee and Jack Kirby of smart, stylish, noir-tinged genre comics. Whenever their names appear together on a cover, it’s practically a guarantee of excellence.

Now, after years of telling stories influenced by classic film noir, Brubaker and Phillips head directly to the source with The Fade Outa dark and enthralling mystery about the dark truths behind the myth of old Hollywood.

READ MORE

‘PROMETHEUS: FIRE AND STONE’ TRAILER DIGS INTO DECONNICK & CO.’S CREATIVE PROCESS
By Matt D. Wilson

Back in March, I spoke with Kelly Sue DeConnick about the unorthodox creative process behind Dark Horse’s new Prometheus/Alien/Predator comics. Essentially, DeConnick and four other writers — Paul Tobin, Chris Roberson, Christopher Sebela and Joshua Williamson – got in a room together and hammered out one big story that will be told in a collection of miniseries. DeConnick had a huge notebook in which she collected a sort of series bible.

Now, those comics are about to be released into the world, starting with Prometheus: Fire and Stone by Tobin and artist Juan Ferreyra on Sept. 10. Dark Horse has released a trailer that digs into the process a bit and reveals a little about one of the characters who will appear throughout the series, Angela Foster.
SEE THE TRAILER AT COMICS ALLIANCE

‘PROMETHEUS: FIRE AND STONE’ TRAILER DIGS INTO DECONNICK & CO.’S CREATIVE PROCESS

By Matt D. Wilson

Back in March, I spoke with Kelly Sue DeConnick about the unorthodox creative process behind Dark Horse’s new Prometheus/Alien/Predator comics. Essentially, DeConnick and four other writers — Paul Tobin, Chris Roberson, Christopher Sebela and Joshua Williamson – got in a room together and hammered out one big story that will be told in a collection of miniseries. DeConnick had a huge notebook in which she collected a sort of series bible.

Now, those comics are about to be released into the world, starting with Prometheus: Fire and Stone by Tobin and artist Juan Ferreyra on Sept. 10. Dark Horse has released a trailer that digs into the process a bit and reveals a little about one of the characters who will appear throughout the series, Angela Foster.

SEE THE TRAILER AT COMICS ALLIANCE

DON’T DRAW THE DARKNESS: SCOTT SNYDER ON ‘ZERO YEAR: SAVAGE CITY,’ PART TWO [INTERVIEW]
By Chris Sims
If there’s one thing we’ve learned from our series of in-depth reviews and interviews about Batman: Zero Year, it’s that the creative team of Scott Snyder, Greg Capullo, Danny Miki and FCO Plascencia set out to do a lot more than just re-tell Batman’s origin for a modern audience. That might’ve been the stated goal, but along the way, it became clear that the team wanted to use that bombastic superhero background to tell a story that was incredibly personal, using the trauma that made Bruce Wayne a hero to explore feelings of isolation, fear and, eventually, triumph.

In our final Zero Year interview, Snyder tells us about the interactions with other Batman creators while it was coming out, how he identifies with both Batman and the Riddler, and how much of the story was inspired by his own very personal experiences with overcoming panic and despair.
READ MORE

DON’T DRAW THE DARKNESS: SCOTT SNYDER ON ‘ZERO YEAR: SAVAGE CITY,’ PART TWO [INTERVIEW]

By Chris Sims

If there’s one thing we’ve learned from our series of in-depth reviews and interviews about Batman: Zero Year, it’s that the creative team of Scott Snyder, Greg Capullo, Danny Miki and FCO Plascencia set out to do a lot more than just re-tell Batman’s origin for a modern audience. That might’ve been the stated goal, but along the way, it became clear that the team wanted to use that bombastic superhero background to tell a story that was incredibly personal, using the trauma that made Bruce Wayne a hero to explore feelings of isolation, fear and, eventually, triumph.

In our final Zero Year interview, Snyder tells us about the interactions with other Batman creators while it was coming out, how he identifies with both Batman and the Riddler, and how much of the story was inspired by his own very personal experiences with overcoming panic and despair.

READ MORE

Aug 21

CRISIS ON REGULAR EARTH: DARK HORSE PUBLISHES EARTHQUAKE SAFETY COMIC
By Matt D. Wilson
Public-safety media is taking a step away from filmstrips and pamphlets toward something much cooler: comic books. In Oregon, anyway.

The Oregon Office of Emergency Management has partnered with Milwaukee, Oregon-based Dark Horse Comics to release Without Warning, a free, 12-page comic all about earthquake safety. It’s not just a bunch of safety tips with pictures, either. Writers Jeremy Barlow and Althea Rizzo and artist David Hahn have developed a real story about a girl trying to get back to her family in the aftermath of a disaster.
READ MORE

CRISIS ON REGULAR EARTH: DARK HORSE PUBLISHES EARTHQUAKE SAFETY COMIC

By Matt D. Wilson

Public-safety media is taking a step away from filmstrips and pamphlets toward something much cooler: comic books. In Oregon, anyway.

The Oregon Office of Emergency Management has partnered with Milwaukee, Oregon-based Dark Horse Comics to release Without Warning, a free, 12-page comic all about earthquake safety. It’s not just a bunch of safety tips with pictures, either. Writers Jeremy Barlow and Althea Rizzo and artist David Hahn have developed a real story about a girl trying to get back to her family in the aftermath of a disaster.

READ MORE

‘DAREDEVIL’ STAR VINCENT D’ONOFRIO TALKS KINGPIN, MARVEL FANS AND ‘DEFENDERS’ CROSSOVER
By Nick Romano
No, you shouldn’t adjust your computer screen. The above photo is of Vincent D’Onofrio, who shaved his head for his role as Wilson Fisk (aka Kingpin) in Marvel’s upcoming ‘Daredevil‘ series, to stream on Netflix in 2015. As he told ScreenCrush earlier today, tonight he’s filming a big scene in Brooklyn where “it’s the first time you see my character do something physical.” Given how intimidating the ‘Law & Order: Criminal Intent’ vet looks in person with this new look — mind you, he’s also 6’4” — we can’t wait to see how his character comes to life on-screen.

Marvel is currently hard at work filming the first of its four upcoming Netflix series (and that’s not including the miniseries team-up of ‘The Defenders’) in New York, but in between shoots, D’Onofrio stopped by the ScreenCrush and Loudwire offices to talk about one of his other passion projects, an indie film titled ‘Mall’ that’s directed by Linkin Park member Joe Hahn. D’Onofrio produced and co-wrote the script for the film, which spotlights a group of characters during a tragic mall shooting.

The film is scheduled for a limited release starting October 17 — be sure to stay tuned for more interviews with D’Onofrio and Hahn before then — but we had to ask the Kingpin himself about transforming into the iconic Marvel villain, his hopes for creating the quintessential portrayal of this character, the series’ crossover potential, and more.
READ MORE

‘DAREDEVIL’ STAR VINCENT D’ONOFRIO TALKS KINGPIN, MARVEL FANS AND ‘DEFENDERS’ CROSSOVER

By Nick Romano

No, you shouldn’t adjust your computer screen. The above photo is of Vincent D’Onofrio, who shaved his head for his role as Wilson Fisk (aka Kingpin) in Marvel’s upcoming ‘Daredevil‘ series, to stream on Netflix in 2015. As he told ScreenCrush earlier today, tonight he’s filming a big scene in Brooklyn where “it’s the first time you see my character do something physical.” Given how intimidating the ‘Law & Order: Criminal Intent’ vet looks in person with this new look — mind you, he’s also 6’4” — we can’t wait to see how his character comes to life on-screen.

Marvel is currently hard at work filming the first of its four upcoming Netflix series (and that’s not including the miniseries team-up of ‘The Defenders’) in New York, but in between shoots, D’Onofrio stopped by the ScreenCrush and Loudwire offices to talk about one of his other passion projects, an indie film titled ‘Mall’ that’s directed by Linkin Park member Joe Hahn. D’Onofrio produced and co-wrote the script for the film, which spotlights a group of characters during a tragic mall shooting.

The film is scheduled for a limited release starting October 17 — be sure to stay tuned for more interviews with D’Onofrio and Hahn before then — but we had to ask the Kingpin himself about transforming into the iconic Marvel villain, his hopes for creating the quintessential portrayal of this character, the series’ crossover potential, and more.

READ MORE

GRAPHIC NOVELIST SETH KUSHNER IS RAISING MONEY FOR A BONE MARROW TRANSPLANT
By Matt D. Wilson
A day may be coming when comic book creators no longer have to turn to the kindness of others to help them pay their medical bills, but that day is not today. Writers, artists, colorists, letterers — virtually everyone involved with making your favorite comics works in a freelance capacity, where healthcare remains a financial burden in America.

As you may have read a few months ago, Schmuck writer and photographer Seth Kushner has been diagnosed with leukemia and needs a bone marrow transplant. This week, his family started a GoFundMe page to raise $50,000 to make it happen.
READ MORE

GRAPHIC NOVELIST SETH KUSHNER IS RAISING MONEY FOR A BONE MARROW TRANSPLANT

By Matt D. Wilson

A day may be coming when comic book creators no longer have to turn to the kindness of others to help them pay their medical bills, but that day is not today. Writers, artists, colorists, letterers — virtually everyone involved with making your favorite comics works in a freelance capacity, where healthcare remains a financial burden in America.

As you may have read a few months ago, Schmuck writer and photographer Seth Kushner has been diagnosed with leukemia and needs a bone marrow transplant. This week, his family started a GoFundMe page to raise $50,000 to make it happen.

READ MORE

I’LL NEVER GO THAT BIG AGAIN: SCOTT SNYDER ON ‘ZERO YEAR: SAVAGE CITY,’ PART ONE [INTERVIEW]
By Chris Sims
For the past year, I’ve spoken to Scott Snyder for a series of in-depth interviews about Batman: Zero Year, the new origin story that he, Greg Capullo, Danny Miki and FCO Plascencia have produced for DC Comics. In the final act, “Savage City,” Batman was confronted with a Gotham City that had been destroyed by a super-storm, was overrun by plants that had grown out of control, and was being held in the iron grip of the Riddler, all while confronting the trauma that inspired him to become a hero.

With the full story completed, I spoke to Snyder for the first part of a two-part interview about how he felt he’d achieved his goals with the bestselling story, the inspiration for the dynamic visuals, and his meeting with Frank Miller, possibly the most definitive Batman author, who had one very specific note about the story.
READ MORE

I’LL NEVER GO THAT BIG AGAIN: SCOTT SNYDER ON ‘ZERO YEAR: SAVAGE CITY,’ PART ONE [INTERVIEW]

By Chris Sims

For the past year, I’ve spoken to Scott Snyder for a series of in-depth interviews about Batman: Zero Year, the new origin story that he, Greg CapulloDanny Miki and FCO Plascencia have produced for DC Comics. In the final act, “Savage City,” Batman was confronted with a Gotham City that had been destroyed by a super-storm, was overrun by plants that had grown out of control, and was being held in the iron grip of the Riddler, all while confronting the trauma that inspired him to become a hero.

With the full story completed, I spoke to Snyder for the first part of a two-part interview about how he felt he’d achieved his goals with the bestselling story, the inspiration for the dynamic visuals, and his meeting with Frank Miller, possibly the most definitive Batman author, who had one very specific note about the story.

READ MORE

Aug 20

[video]

THIS REVIEW IS IN THE FORM OF A LIVE DISSECTION: THE MULTIVERSITY ANNOTATIONS, PART 1

By David Uzumeri

Teased for years and finally launched this week, The Multiversity is a universe-jumping series of DC Comics one-shots tracking the cosmic monitor Nix Uotan and an assemblage of star-crossed heroes as they attempt to save 52 universes and beyond from a trippy cosmic existential threat that, like much of Morrison’s best work, represents something far more mundane and relatable. Tying back into the very first Multiverse story in DC’s history, the heroes of these universes become aware of this threat by reading about it in comic books… comic books that, it turns out, take place in neighboring universes. Indeed, writer Grant Morrison continues his streak of highly metatextual DC cosmic epics with this eight-issue mega-series (plus one Tolkienesque guidebook).

Described by Morrison as “the ultimate statement of what DC is”, The Multiversity naturally offers the reader much beyond the surface level adventure, and that means annotations. Rather than merely filling out checklists of references, my hope with this feature is to slowly unearth and extrapolate a narrative model for Morrison and his collaborators’ work on The Multiversity; an interconnecting web of themes and cause and effect that works both on literal and symbolic levels.

Three pages into the preview for The Multiversity #1, I knew I was going to have a lot to work with.

With no further ado, go get your erasers and your textbooks, close your laptops, sharpen your pencils, and get ready for some course notes. Let’s go to school.

SPOILERS AND THE RETURN OF DAVID UZUMERI AT COMICS ALLIANCE

THIS REVIEW IS IN THE FORM OF A LIVE DISSECTION: THE MULTIVERSITY ANNOTATIONS, PART 1

By David Uzumeri

Teased for years and finally launched this week, The Multiversity is a universe-jumping series of DC Comics one-shots tracking the cosmic monitor Nix Uotan and an assemblage of star-crossed heroes as they attempt to save 52 universes and beyond from a trippy cosmic existential threat that, like much of Morrison’s best work, represents something far more mundane and relatable. Tying back into the very first Multiverse story in DC’s history, the heroes of these universes become aware of this threat by reading about it in comic books… comic books that, it turns out, take place in neighboring universes. Indeed, writer Grant Morrison continues his streak of highly metatextual DC cosmic epics with this eight-issue mega-series (plus one Tolkienesque guidebook).

Described by Morrison as “the ultimate statement of what DC is”, The Multiversity naturally offers the reader much beyond the surface level adventure, and that means annotations. Rather than merely filling out checklists of references, my hope with this feature is to slowly unearth and extrapolate a narrative model for Morrison and his collaborators’ work on The Multiversity; an interconnecting web of themes and cause and effect that works both on literal and symbolic levels.

Three pages into the preview for The Multiversity #1, I knew I was going to have a lot to work with.

With no further ado, go get your erasers and your textbooks, close your laptops, sharpen your pencils, and get ready for some course notes. Let’s go to school.

SPOILERS AND THE RETURN OF DAVID UZUMERI AT COMICS ALLIANCE