Luke Cage History: From Hero for Hire to Hollywood
TV, Comic Books
DC Comics’ Selfie Variant Month posed a particular problem for Batman ’66, the digital-first series set in the world of the 1966-1968 television show, decades before the introduction of smartphones, or even digital cameras. Cover artist Joe Quinones could’ve gone with an instant camera, of course — what screams “1960s” more than a Polaroid Model 20 Swinger? — but instead he came up with a solution that’s both funnier and in keeping with the tone of the TV series.
Fan excitement last year over The Complete Zenith!, collecting the lost 1980s superhero saga by Grant Morrison and Steve Yeowell, was tempered both by the unresolved rights dispute and the roughly $150 price tag for the limited edition (still, the 1,000-copy print run sold out). However, as promised, Rebellion is preparing to release four non-limited hardcovers collecting the entire story — and it has provided ROBOT 6 with an exclusive first look at their interlocking covers.
Titan Publishing has revealed Charlie Adlard’s cover for the special Comic-Con International edition of The Walking Dead: The Official Magazine #9. The limited-edition cover, featuring the tyrant Negan and Lucille, will be available exclusively at the Titan booth (#5537) during the July 24-27 convention.
The issue features an interviews with The Walking Dead TV star Norman Reedus (featured on the standard cover) and creator/executive producer Robert Kirkman.
If you’re a fan of both Sex Criminals and The Wicked + The Divine, you’re in luck: USA Today has unveiled Chip Zdarsky’s alternate cover for the second issue of the new Image Comics series … featuring creators Kieron Gillen and Jamie McKelvie.
Debuting this week to positive reviews, The Wicked + The Divine centers on 12 gods who are reborn every 90 years as the ultimate pop stars.
Brian Wood has unveiled Becky Cloonan’s new cover art for Dark Horse’s upcoming Demo omnibus, which will collect both volumes of their breakout series. As the writer notes, the art is an updated version of the cover for 2003’s Demo #1.
Dark Horse announced last week that it will publish the collection of Wood and Ryan Kelly’s 2008 graphic novel The New York Four and 2010 sequel The New York Five in November, followed by Demo in April. According to Wood, both will be “high-end softcovers,” with plenty of extras, akin to Dark Horse’s 2012 collection of Channel Zero.
Kevin Smith has unveiled Michael Allred’s variant cover for the first issue of Batman ’66 Meets the Green Hornet, the upcoming 12-part DC Comics/Dynamite Entertainment digital-first crossover.
Written by Smith and Ralph Garman and illustrated by Ty Templeton, the biweekly series is being treated by the creative team as a lost sequel to the two-part 1967 Batman episode that brought Green Hornet and Kato to Gotham City to break up Colonel Gumm’s counterfeit-stamp ring.
Batman ’66 Meets the Green Hornet debuts May 21 in digital format and June 4 in print.
While looking for some art earlier I can across something cool — artist Tom Scioli, who is hard at work on IDW’s Transformers vs. G.I. Joe comic, posted some alternate covers for the project from Rob Liefeld (Youngblood) and Ed Piskor (Hip Hop Family Tree) on his Tumblr.
“I can’t believe they’re letting us do this,” John Barber, who is writing the project, said yesterday at WonderCon. “It’s coming from a real pure place. The storytelling is crazy innovative, pure sci-fi, army cosmic clash between Earth and alien invaders. The Free Comic Book Day story on May 3, the Joes are engaging in a final showdown with Cobra and that’s right when Starscream shows up pursuing Bumblebee, that’s when things get out of hand. It’s so much fun. I’ve been a fan of Joes and Transformers since I was able to read.”
Check them out below. The comic kicks off this summer.
Three weeks after Marc Silvestri and Todd McFarlane pulled back the curtain on their collaboration process for a Skybound cover, Image Comics has unveiled the final product: a variant for Manifest Destiny #7. It’s colored by series colorist Owen Gieni.
The issue kicks off a new arc in the series by Chris Dingess and Matthew Roberts, which tells the hidden story of the Lewis & Clark expedition (one filled with monsters).
Manifest Destiny #7, which arrives June 11, can be ordered now with Diamond Code APR140575; the Silvestri/McFarlane variant is MAR148175.
Deadpool #27 made headlines yesterday when it was announced that the cover had set the record for the most comic book characters on a single issue cover, as declared officially by Guinness World Records. It also brought a lot of discussion in our comments, as fans asked what the previous record holder was and if, indeed, it truly beat out every other cover out there as depicting the “most comic book characters on a single issue cover.”
So I thought maybe we should take a look at some of the candidates folks pointed out …
Art dealer Sal Abbinanti has revealed a new Captain America cover by Alex Ross, part of a series of 12 variants to celebrate Marvel’s 75th anniversary.
As you can see below, the cover depicts the Sentinel of Liberty as a hero of two eras, serving with the Invaders in World War II and with the Avengers in modern times. In the middle is a pre-Super-Soldier serum Steve Rogers.
No information was given about a release date for the cover.
Legendary Entertainment has released the official cover for its Godzilla graphic novel tie-in, Godzilla: Awakening, by fan-favorite artist Art Adams. His take on the King of Monsters is, of course, highly detailed, with particular attention paid to the texture of the skin and scales.
Co-written by Godzilla screenwriters Max Borenstein and Greg Borenstein, Awakening features the work of a number of artists, including Eric Battle, Yvel Guichet, Alan Quah and Lee Loughridge. Arriving May 7, the original graphic novel serves as a prequel to director Gareth Edwards’ film, although no concrete plot points have been revealed. Check out Adams’ cover and the Godzilla: Awakening synopsis below.
Marvel has debuted Alex Ross’ cover for Miracleman #5, which kicks off the reprints of “Book Two: The Red King Syndrome,” by Alan Moore, Alan Davis, John Ridgeway, Chuck Beckum and Rick Veitch.
The issue, which arrives May 7, also features variants by Jim Cheung and Humberto Ramos.
I had taken a break from comics during the whole “Death of Superman”/”Reign of the Supermen” era, yet I’m a little excited by this mysterious cover unveiled today by Sean Murphy (The Wake, Punk Rock Jesus). Even those readers who weren’t around for the early-’90s storyline will undoubtedly recognize the Man of Steel/John Henry Irons/Steel, the Man of Tomorrow/Cyborg Superman, the Last Son of Krypton/Eradicator and the Metropolis Kid/Superboy, who arrived in Metropolis claiming to be Superman.
Murphy says he doesn’t know what the cover is for, but it’s a pretty safe bet that it’s part of DC Comics’ “Superman: Doomed” crossover, depicting the first major conflict in the New 52 between the Man of Steel and Doomsday, who was responsible for “The Death of Superman” 22 years ago.
Update: As a helpful commenter below points out, PreviewsWorld states Murphy’s cover is the 75th anniversary variant for Superman Unchained #6, due out on March 19.
Created by Steve Orlando and Artyom Trakhanov, the new miniseries imagines modern-day Atlantis as a world superpower known for its opulence and excess. But Redum Ashargal seeks to liberate his people from their underwater life and sets out to find a legendary creature believed to hold the secrets of life on land.
Illustrator Tomer Hanuka, best known in comics circles for projects like Bipolar, The Placebo Man and Meathaus S.O.S. (not to mention numerous covers), makes his New Yorker debut with the lovely, and surprisingly warm, cover for the Feb. 10 issue. Surprising, I say, because “Perfect Storm” deals with the winter weather, if from a different perspective.
“I moved to New York in my early twenties, after being in the Israeli Army for three years,” he says on the magazine’s website. “I have this image of myself in my first rental apartment, sitting on the edge of the bed and staring at the window. You encounter the world as an adult for the first time — I think that’s what the story was about. That’s a powerful thing. Every window you stared through before was your parent’s world, and now, suddenly, you’re in a city. You’re washed with optimism and a sense of freedom — you’ve just been liberated and that’s amazing. And then you realize you can do very little, and it’s terribly disappointing. But the heartache and all that, that comes later.”