COMICS, EVERYBODY: THE HISTORY OF WOLVERINE EXPLAINED!
By Chris Haley
Spoiler alert: Wolverine is dead. The most unkillable character in the Marvel superhero pantheon finally met his maker in this week’s Death Of Wolverine #4 by murderers Charles Soule and Steve McNiven. The development — which we are naturally very certain is permanent and shan’t be reversed in a similarly bombastic fashion in approximately one year’s time (or however time works in the Marvel Universe) — brings to a close decades of Wolverine comics publishing that’s seen the ceaselessly popular mutant go through twists and turns that would snap the neck of anyone whose bones weren’t bonded with unbreakable metal.
Without divulging the details of his demise for those of you who’ve yet to read the story, the following is an utterly comprehensive, wholly accurate and otherwise unassailable digest of Wolverine’s long history in comics, courtesy of cartoonist Chris Haley of Let’s Be Friends Again with colors by Jordan Gibson. Whether you’re new to Wolverine and curious to learn more about his ridiculous past or you’re a hardcore Marvel nerd looking to Um-Actually this feature into oblivion, you’ll be sure to enjoy this special tribute to he who is the best at what he does… er, did.
BEST ART EVER (THIS WEEK): BLADE RUNNER, BATMAN ’66, JAMES BOND, SPIDER-GWEN, BOJACK HORSEMAN AND MORE
Compiled by Andy Khouri
We make a regular practice at ComicsAlliance of spotlighting particular artists or specific bodies of work, as well as the special qualities of comic book storytelling, but because cartoonists, illustrators and their fans share countless numbers of great pinups, fan art and other illustrations on sites like Flickr, Tumblr, DeviantArt and seemingly infinite art blogs that we’ve created Best Art Ever (This Week), a weekly depository for just some of the pieces of especially compelling artwork that we come across in our regular travels across the Web. Some of it’s new, some of it’s old, some of it’s created by working professionals, some of it’s created by future stars, some of it’s created by talented fans, awnd some of it’s endearingly silly. All of it is awesome.
Above: Blade Runner by Laurie Greasly
ASK CHRIS #216: WHEN DO HORROR STORIES BECOME SUPERHERO STORIES?
By Chris Sims
Q: What major superhero can be most effectively dropped into a horror plot without causing it to stop being horror? — @KaosExMachina
A: Y’know, I don’t wanna make any of the other 215 people who have Asked Chris feel bad or anything, but this is easily one of my favorite questions that I’ve ever gotten. It’s probably obvious by now, but I have a lot of fun thinking about different genre conventions and how they work, and this is the sort of thing that you can play around with forever, and that you can ask your friends and get all sorts of different answers and justifications, something that I actually did while I was getting ready to write this article. But it’s also a really difficult one to answer.
It’s like you said: When you add superheroes to horror stories, they tend to stop being horror stories.
SUPERMOVIES: THIS IS WHAT THE NEXT FEW YEARS OF YOUR LIFE LOOKS LIKE [INFOGRAPHIC]
The Warner Bros. announcement on Wednesday of ten upcoming movies based on DC Comics properties neatly fills in a calendar of dates that the studio previously provided — and help flesh out an extraordinary timetable of DC and Marvel superhero movies over the next six years from Warner Bros, Marvel Studios, Fox, and Sony Columbia.
ComicsAlliance’s own graphics maestro Dylan Todd put together a timeline that reveals what those six years look like, including 29 confirmed release dates between now and the end of 2020, with several dates and titles still to be announced. For anyone who remembers the days when just one Spider-Man movie seemed an impossible dream, it’s an astonishing representation of how comic book superheroes now dominate popular entertainment.
LEN WEIN ON HARLAN ELLISON, GARCIA-LÓPEZ AND ‘BATMAN ’66: THE LOST EPISODE’ [INTERVIEW]
On November 19, DC Comics will release Batman ’66: The Lost Episode, a bookshelf-format one-shot by writer Len Wein and penciller José Luis Garcia-López — superhero comics legends, both — adapting a previously-unknown story that Harlan Ellison wrote for the classic Adam West and Burt Ward TV show: the introduction of Two-Face. The project is a very special companion to DC’s popular and critically acclaimed digital-firstBatman ’66 series. In addition to its prestigious veteran storytellers, the book also features inking by Joe Prado, colors by Alex Sinclair and cover art by Alex Ross, all industry leaders in their disciplines.
At New York Comic Con this past weekend, we had the opportunity to sit down with Wein and discuss the origin of the project, his friendship with Ellison, and the experience of adapting an unfilmed television episode into the comic book format.
DISCOVER THE LIFE OF A COMIC ARTIST WITH AT&T’S R.A.I.D. STUDIO DOCUMENTARY
Drawing comics is time-consuming, sometimes crushing, occasionally rewarding, and almost impossible to quit if you love it. And it helps if you get to do it around other artists who love it as much as you do.
Those are some of the key takeaways from Comic Book Artists: Next Generation, an AT&T U-Verse documentary about the artists at Toronto’s R.A.I.D. Studio (a.k.a. the Royal Academy of Illustration and Design; though it’s not a real Royal Academy in the strictest sense). The studio has ten resident artists, but the half-hour documentary shines a light on four key players: Ramón Pérez, Marcus To, Francis Manapul and Kalman Andrasofszky.
COMICSALLIANCE VS. THE DC COMICS MONSTER CEREAL REDESIGNS
By Chris Sims
If there’s one thing I’ve learned in a lifetime of reading, selling, making and writing about comics, it’s that people who like comic books also tend to have a pretty healthy interest in breakfast foods. That, I assume, is why the people at General Mills decided to spice up their annual revival of the Monster Cereals — Boo Berry, Franken Berry and the immortal Count Chocula — with a set of redesigns for their principal characters, courtesy of artists Jim Lee, Dave Johnson and Terry and Rachel Dodson. In other words, your breakfast just got a New 52 reboot.
The whole thing is even marketed as a co-production between General Mills and DC, with the former presumably handling the cereal while the latter concentrated on art. Obviously, this means that these cereals are technically an edible DC Comics title, so with Halloween creeping up on us like a restless spirit, I have taken it upon myself to examine the new look for the spoooookiest of breakfast cereals to find out just how these new designs hold up to the originals.
SPANISH FILMMAKER ADAPTS NAOKI URASAWA’S ‘MIGHTY BOY’ INTO SHORT FILM: WATCH FOR FREE
Friends, this is the sort of comic book movie news I enjoy writing about: Naoki Urasawa (Monster, 20th Century Boys, Pluto) can now add the honor of becoming the first manga author to have his work adapted into film in Spain. Spanish director Javier Yañez obtained the rights to one of Urasawa’s early short stories, Mighty Boy, from publishers Shogakukan, gaining approval from the master himself in the process. Although the film was largely privately financed, Yañez took the initiative to crowd-funding platform IndieGogo in order to raise the final $10,000 it required, and now it’s finished and available to watch in full, for free (subtitled in both English and Japanese).
I spent a bit of time trying to track down Urasawa’s original story online, with no luck (it’s not been translated in English, and was published as part of an anthology volume), so I’m unable to comment on how the adaptation translates, or how faithful it is, but I can tell you what the film is about and if it’s any good.
‘EDGE OF SPIDER-VERSE’ #5 MAY NOT BE THE TOKUSATSU SPIDER-MAN WE WANT, BUT IT’S STILL PRETTY RAD [REVIEW]
By Chris Sims
If there’s one thing that you need to know about ComicsAlliance, it’s that we are very much in favor of Supaidaman, the ’70s tokusatsu series where Marvel’s Spider-Man was reimagined as Takuya Yamashiro, a dirtbike racer chosen by an alien from Planet Spider to defend the world from Professor Monster with the aid of a giant robot. It’s one of my favorite things in the world, and if you asked me to pick one thing that I’d want to see from Marvel, it would be for Yamashiro to return to action in the pages of the modern Marvel Universe.
As a result, it’s hard for me to look at this week’s Edge of Spider-Verse #5, by Gerard Way, Jake Wyatt, Ian Herring and Clayton Cowles, without just seeing that it’s a tokusatsu-inspired take on Spider-Man that simply isn’t the one I want it to be. It took a lot of effort to get past that — effort that was mostly motivated by how great last month’s “Spider-Gwen” issue was — but in the end, I’m glad I made it. It might not be the book I wanted, but it’s definitely pretty fantastic in its own right, even if it suffers from a distinct lack of dirtbikes.
DARK HORSE HAS A HUMBLE BUNDLE, TOO, AND IT’S ALL ‘STAR WARS’ COMICS
Marvel Comics is taking over the Star Wars franchise, but not until next year. So why shouldn’t the longtime steward of the franchise, Dark Horse, have some fun with it and help out a worthy cause while it can?
Dark Horse is the latest in a long line of publishers to offer up a Humble Bundle comics package, but unlike the others, its offering is themed: strictly Star Wars books. Among the titles up for grabs are the first volume of the Star Wars Omnibus: A Long Time Ago (which collects the classic Marvel series from the ’70s), the first volume of the Empire series, the entire Darth Maul: Death Sentence miniseries, and a lot more.