‘SUPREME: BLUE ROSE’ BY WARREN ELLIS & TULA LOTAY TAKES LIEFELD & MOORE’S WORK TO NEW, UNSPECIFIED PLACES
Supreme, the Extreme Studios/Image Comics/Awesome Comics character created by Rob Liefeld and for whom Alan Moore wrote a highly regarded run in the mid-1990s, is coming back, though it’s a little hard to say whether the character will look all that familiar to fans.
Image Comics released a rather cryptic press release for Supreme: Blue Rose, a new series by Warren Ellis and Tula Lotay, in which it promises to re-introduce Supreme in a whole new way. The new series premieres July 23.
KEK-W AND SHAKY KANE’S ‘CAP’N DINOSAUR’ TO BRING COMIC ADS FROM THE ’50S AND ’60S TO LIFE
The mail-order ads from comics of the 1950s and ’60s have long been a source of great entertainment for comics fans and bloggers over the years, but writer Kek-W (2000 AD) and artist Shaky Kane (The Bulletproof Coffin) are making a whole comic out of them with the new Image Comics one-shot Cap’n Dinosaur, on July 16.
REVIEW: JASON AARON AND JASON LATOUR’S ‘SOUTHERN BASTARDS’ FEELS LIKE GOING HOME AGAIN
By John Parker
It was beginning to feel like Jason Aaron and Jason Latour were holding back. Not holding back their talents, obviously, but not showing us just how savage they could be. In the year and a half since the conclusion of Scalped, Aaron has written a slew of great Marvel books. After the last issue of the razor-sharp Loose Ends, Latour penned an arc of Winter Soldier and is now taking on Wolverine and the X-Men. Since the ends of their respective creator-owned series, everything that each creator has done has been top-notch superhero comics. But they were still superhero comics.
As great as their work in superheroes may be, Aaron and Latour have done their best work far outside that realm. In their best books, bullets kill you dead, horrible people do horrible things, and there always seems to be a redneck around the corner. After hanging around the superhero world for a while, the pair team up for a trip down south with the new redneck crime series Southern Bastards. And baby, it feels like going home again.
In Southern Bastards, a grown man returns to his childhood home to put the past behind him for good. Forty years after he left, Earl Tubb comes back to Craw County, Alabama, where BBQ, religion, and college football reign supreme. With his uncle going into a nursing home, Tubb just wants to close down the family home and leave as quickly as possible. But shortly after he arrives, old memories come back to haunt him, and he is soon drawn into the dark underbelly of violence living in his old home.
Each week, ComicsAlliance’s Chris Sims and Matt Wilson host the War Rocket Ajax podcast, their online audio venue for interviews with comics creators, reviews of the books of the week, and whatever else they want to talk about. ComicsAlliance is offering clips of the comics-specific segments of the show several days before the full podcast goes up at WarRocketAjax.com on Mondays.
This week, Chris is away at ECCC, so Matt’s welcoming special guest co-host David Wolkin to talk about The Manhattan Projects #19 by Jonathan Hickman and Ryan Browne, All-New Ghost Rider #1 by Felipe Smith and Tradd Moore, and Real Heroes #1 by Bryan Hitch!
Listen to the clip in the player above and be sure to check out the full show Monday, in which Matt and David talk to Wired‘s Laura Hudson about how they all got into comics for the first time!
IMAGE’S ‘GENESIS’ ARTIST ALISON SAMPSON ON THE INTERSECTION OF COMICS AND ARCHITECTURE [INTERVIEW]
Available for pre-order now, Genesis is a forthcoming graphic novella from Image Comics created by the team of Alison Sampson, Nathan Edmonson, and Jason Wordie. In it is the 56-page story of the awesome thankless burden of one man’s ability to shape and change the world. Edmonson has scripted a moody, horror-tinged tale that captures perfectly the spiraling psyche of a man trying to create a better existence only to be constantly overwhelmed by the obstacles that come with this, not the least of which is a a multicultural and gendered world which seems more than happy to stick to the status quo. It’s a mind-melting story brought to uncommonly vivid life by Sampson’s artwork and the coloring of Jason Wordie.
Sampson creates an angular, expressionistic spindle of a universe that at once affirms the wild possibilities of creation and underscores the haunted fragility of those creations. Simply through her abilities at montage, she’s able to immerse the reader in a flowing, psychologically amorphous world. Genesis is worth reading simply to behold the spectacular buildings and vistas that she creates out of the co-mingled shrapnel of the constructed and natural worlds. There is a monstrous castle in this book that has to simply be seen to be believed.
We sat down to with Alison Sampson to discuss these topics and more, both with respect to Genesis and her approach as an artist in practice. What followed was a really fascinating discussion, delving into the intersection of architecture and comics.
‘Starlight’ #1: Millar & Parlov Send A Pretty Postcard From A Place You’ve Already Visited [Review]
By Kevin Church
Did you like The Incredibles and Flash Gordon? Are you completely unaware of the existence of Grant Morrison’s take on English sci-fi icon Dan Dare? Then you are the perfect audience for Starlight, a new Image Comics project by Mark Millar and Goran Parlov that waves its influences in front of your face and hopes that’s enough to accomplish what the actual book does not.
Welcome back to the ComicsAlliance podcast, covering the latest comic book entertainment news topics. Joining Senior Editors Andy Khouri and Caleb Goellner for this episode is CA writer Matt D. Wilson for a conversations about the the keynote address delivered by Image Comics Publisher Eric Stephenson to the ComicsPro Retailer Conference in Atlanta. Stephenson made a characteristically iconoclastic and not altogether unassailable presentation, urging retailers to become community leaders, abandon their support of gimmicky, high-priced publishing practices, and draw a distinction between good and bad comics.
We’ll contrast Stephenson’s remarks with those of Dan DiDio, his counterpart at DC Comics, one of the stop superhero publishers, who in an interview this week confirmed plans to double— even triple-down — on weekly comics, crossovers and 3D covers, publishing strategies that are seemingly exactly the sort of thing Stephenson that criticized.
There are only two kinds of comics that matter: good comics and bad comics.