Ha, same thought went through my head.
Be interesting to see what this will be about. I'm guessing it's probably another non-superhero work. I wasn't as impressed with his last as many (Murphy's art was outstanding, but the story was kind of dull overall), but everyone has an occasional misstep.
Also, kind this kind of got overshadowed by the Morrison announcement, but a new series by Spencer, Bedlam, was also announced. It doesn't sound like my kind of book, but with Spencer writing, I'm interested.
http://www.comicbookresources.com/?page=article&id=37200
Plus I kind of wonder if - with the success of Sin City, Kick-Ass, Walking Dead, etc. if retaining all the rights to their creations is now a big motivating factor for writers.
Plus I kind of wonder if - with the success of Sin City, Kick-Ass, Walking Dead, etc. if retaining all the rights to their creations is now a big motivating factor for writers.
But Vertigo and Icon allow the creators to retain all the rights as well. I can understand Brubaker, Hickman, and Millar moving to Image because outside of Kick-Ass, Marvel never really gives Icon a chance. But DC pumps a lot into Vertigo, I am really curious to see why Morrison decided to go with Image instead of Vertigo with his next project.
Though this is technically true, Brian Wood mentioned recently that Vertigo contracts have a stipulation where WB automatically auctions the IP in question for other media. You get paid extra, but outside comics, you basically lose control of that aspect of your material. For instance, with Wood, AMC came to him to adapt DMZ, but WB didn't let it go through.
I think it's nice how big writers are doing more and more Creator-owned projects because i believe today's comic audience has alot of interests on writers instead of characters alone thesedays.
Well how does the "character" work if it's brand new? Or do you mean like how Millar rides off with "what if Batman was the Joker" ideas for example? Also what do you mean by Importance? Most comic book fans are all about mainstream Marvel and DC univrse, so i was pondering what you meant by the word importance.
Well how does the "character" work if it's brand new? Or do you mean like how Millar rides off with "what if Batman was the Joker" ideas for example? Also what do you mean by Importance? Most comic book fans are all about mainstream Marvel and DC univrse, so i was pondering what you meant by the word importance.
I've heard before that Marvel purposely keeps Icon small because a lot of its writers also work (or have worked) for Vertigo, and the editorial staff doesn't want to create conflict between the two. I don't know if that's true, though.I didn't know that about Vertigo.
Icon blows purely because, like everything that's not Spider-Man, the Avengers, or X-Men, Marvel doesn't give a **** about it.
Yeah i gets it.What I mean by importance is basically what Watchman said. Putting a spotlight on something and saying, "Woah guys, you got to read this!" It's basically how a writer like Hickman, who wasn't very known outside the indie circle, made the FF title a best seller when a much, much bigger creative team didn't come close (even though his run, too, started out pretty low in sales).
Importance means, "THE EIGHT ISSUE EVENT THAT WILL ROCK THE FOUNDATION'S CORE AND WILL CHANGE THE UNIVERSE FOREVER!"
I meant working on a Marvel universe book while doing one for Vertigo. Supposedly, Marvel wants to give its "big" creators an outlet for creator-owned stuff but doesn't want to move in on Vertigo's territory since it has had people like Jason Aaron, Mike Carey, and Brian K. Vaughan doing both at the same time.Um, doesn't sound like it. The only writer that's been published under Icon that had Vertigo work was Brubaker, and it's been quite awhile since he had. Bendis, Fraction and Millar have never done any Vertigo work.
Icon blows purely because, like everything that's not Spider-Man, the Avengers, or X-Men, Marvel doesn't give a **** about it.
I wasn't referring to the quality.What does Marvel giving a @#$% about those creator owned books have to do with the quality of said books?
Skullkickers is a fantasy comedy by Jim Zubkavich starring two nameless merceneries who adventure around murdering whatever evil they can find in hopes for money and fame, thats the basic gist of the series, a buddy-cop fantasy series starring Baldy & Shorty.
The art by Edwing Huan, Chris Stevens & Misty Coast is like the art from a Saturday morning cartoon with very bright colors, cute facial expressions (and hilarious reaction faces) and very children fantasy alike from its stout dwarves, muscular men and cuter than cute fairies, who happen to act like human bullets and slit throats in the name of spirits and forests, cute and fun! The basic concept with its art and storytelling is to have this really fun bright colorful cartoony vibe, with a bit of blood now and then, so its not quite the most dark fantasy universe out there, but its not flowers and sunshine at all, but a comical mixture of the two, the best example would be something like the Warcraft series.
The hardcover collection collects the first eleven issues and tons of extra material, which Ill get to later on. The main series works as a wonderful introduction to both our nameless heroes and the setting around us. You got the killer fairies Ive mentioned, mages, necromancers and warlocks and even a fat werewolf. The overall plotline is pretty much surrounding Baldys & Shortys desire to become filthy rich & famous, and theyre not the most kindest heroes out there, but neither are they truly villainous, but they are the mixture of good and evil to the point its truly their charm that makes you want to root for these goofballs to save the day from the great evil, which usually has been caused by their own foolishness. The book also seeds some subplots that will carry on to the next book, so not only are there bigger stories untold, but the charm that Zubkavich provides with these characters is more than enough reason to anticipate for the next volume, after enjoying the hilarity from this one. Ill also add that this book has a rather clever way of using sound effect text in comics.
The extra content includes these anthology stories that began even before the series was launched, so we see the initial designs which practically remain unchanged, but the tune here is actually much more darker, almost like todays dark fantasy series like Dragon Age, Game of Thrones or Demon Knights, so its a bit fun seeing these loveable heroes suddenly being much nastier and greedier than on the actual ongoing. There are also character designs, crossovers, puzzles and whatnot an unusual extra in this comic book hardcover, but that just simply makes it even a more fun gift to your teenage child/cousin/friend/relative.
Rating: 83/100 A solid introduction to the genre as there arent that many fantasy comics going on, much less comedic ones. I would say however the book maybe gets a bit too tongue-in-cheek? Can the fans truly take all the great hordes of evil that seriously, when were supposed to be laughing at it at the same time? I guess what Im saying is that this is very comedic, but perhaps it was too comedic for me? Did I expect a different comic? All I want to say is I highly recommend this, if youre a fan of fantasy, you dont even have to be a fan of fantasy to get into this book, the real charmer are the mercenaries with their simple quest for fame and fortune, whats not to like?
Severed is a well fashioned horror story that does its job right, telling horror where it’s character driven instead of your usual slasher gore festivals that you’re bored with from television to movie to video games, this is the kind of horror that comes from mastering the suspenseful of the reader, like the horror movies from John Carpenter himself.
It’s the year 1916, a quite strange year in the history of America one might consider. Unusual shark attacks that inspired the inevitable movie Jaws, the first women elected to the House of Representatives, the opening of the first US birth control clinic, the record for greatest temperature change in a 24 hour period, the hanging of an elephant, and the year America prepared for World War 1, it’s quite the year that makes one ponder how history can truly be stranger than fiction, and we are here entering a fictional story of 12-year old Jack Garron, who runs away from his adoptive mother in search for his true father, while a menacing sharp toothed cannibal is hunting down little children.
Jack is lifted by his dreams of meeting his biological father whom he has been exchanging mails with, during his travels he meets new friends and finds himself in amazement with the wonders big cities can provide you, but as the sharp-toothed killer lurks around, no one is truly safe and how is Jack connected to all of this? Are he and his friends safe? What drives the sharp toothed killer to eat human flesh? Is there a happy ending to any of this? It’s such a wonderful suspense driven story with its strong dialogue and characters.
Attila Futaki is the artist of the series and he really oozes life into this, not to mention the shadows and the eerie atmosphere, the shadows of the dark room with only a single candle lit, the panel work here is almost like watching at a single still frame of a movie that just keeps moving from panel to panel like real moving motion picture, that’s how powerful I felt of its story telling.
Rating: - 90/100 Overall this is a short story, not only about the terrors of a cannibalistic madman, but the story of fear that comes from within; Deceits, loneliness and the idea of pure evil bei