Tagged: Dark Horse

The Tower Chronicles Marks the Arrival of Legendary Comics

jimleecoverart-292x450-9150861Legendary Comics launches their first series today with The Tower Chronicles: Geisthawk – Volume 1, from Matt Wagner and Simon Bisley. The 48-page prestige format release begins a new universe that represents the kinds of comics Legendary intends to explore. The Tower Chronicles is the tale of John Tower, a supernatural bounty hunter. His missions lead him into mankind’s most dangerous places to banish poltergeists, demons, and other supernatural evils that plague his “sometimes respectable” patrons.

The first issue sports two different covers, one from Bisley, perhaps best remembered for his work on Lobo in the 1990s, and Jim Lee, DC Entertainment’s co-publisher, inked by his usual partner Scott Williams. The series is being inked by Rodney Ramos, the journeyman inker best known for his work on Transmetropolitan.

vampire-fight-300x135-3743990The Tower Chronicles: Geisthawk – Volume 1 was written by Wagner (Grendel and Mage) in consultation with Thomas Tull, founder of Legendary Pictures. It’s interesting to note that the copyright is shared by Wagner and Legendary. The story is set in contemporary times but clearly has supernatural elements starting with Tower himself and the monsters he is charged with apprehending. As usual, Wagner’s writing is clear and never less than interesting to read. Bisley’s claustrophobic, dark artwork is great for the monsters, less so for the people inhabiting the pages.

tower-hero-shot-295x450-6025574The first serial is part of a trilogy, Wagner has told the media he has already written a total of eight volumes so the adventures are only just beginning.

The comic imprint is a subsidiary of Legendary Pictures which has co-produced countless films including many in the genre such as 300 and The Dark Knight trilogy. Editing the line is Bob Schreck, formerly of Dark Horse and DC Comics. Last year, the company debuted with Frank Miller’s former Batman project, Holy Terror.

Wagner and Schreck are taking reader questions over at the title’s Facebook page. There, additional background on the world and characters are presented, along with previews of subsequent stories

TARZAN NEWS!

Art: Joe Jusko

Edgar Rice Burroughs’ Tarzan turns 100 this year, but don’t think celebrating his centennial has slowed down the Lord of the Jungle. Quite the opposite. Here are a few odds and ends from Tarzan’s world happening in 2012 and beyond.

Art: Tom Grindberg
Art: Tom Grindberg

 EDGAR RICE BURROUGHS COMIC SERVICE-
By signing up for the new Edgar Rice Burroughs Comic Service, you will be able to view New and Coming Tarzan comics as soon as they leave our artist’s desk!

Read the recent All Pulp interviews with Tarzan 2012 comic strip writer Roy Thomas and artist Tom Grindberg.

Art: Sterling Hundley

TARZAN ART TO APPEAR ON NEW USPS POSTAGE STAMP-
CHESTERFIELD, VA – Edgar Rice Burroughs, the author who created Tarzan and a host of other sci-fi heroes a century ago, didn’t get much respect for what was considered pulp fiction at the time. Now, the work of a Chesterfield artist commemorating the prolific author is taking a licking literally.

A brand-new postage stamp showing Burroughs and Tarzan is set to take off around the world. It’s the second U.S. Postal Service stamp drawn by Sterling Hundley, an artist, illustrator and Virginia Commonwealth University art professor. (His first was Oveta Culp Hobby, the first woman to hold a presidential cabinet position.)

Learn more about Sterling Hundley and the new Tarzan stamp here.

OFFICIAL TARZAN STATUES NOW AVAILABLE FOR PRE-ORDER-
Details here.

Art: Joe Kubert

JOE KUBERT’S TARZAN OF THE APES: ARTIST’S EDITION COMING IN SEPTEMBER-

Art: Joe Kubert

Joe Kubert is one of the most lauded artists in the history of comics, a true living legend. He has been a vital creative force since the 1940s and remains so to this day. He has had defining runs on Hawkman, Enemy Ace, Tor, Sgt. Rock, and many others. Among his career highlights is Tarzan of the Apes, and Kubert’s rendition could arguably be called the definitive comic adaptation of the Ape-man.

“To have the Tarzan stories I drew commemorate the 100th anniversary of a strip I fell in love with as a kid is the thrill of a lifetime,” said Joe Kubert, writer and artist of all the stories in this Artist’s Edition.

This Artist’s Edition collects six complete Kubert Tarzan adventures, including the classic four-part origin story. Each page is vividly reproduced from the original art and presented as no comics readers have seen before. For fans of Kubert and Tarzan, this new entry in the Eisner-winning Artist’s Edition line must be seen to be believed!

2012 is the centennial year for Tarzan. Created by master storyteller Edgar Rice Burroughs, Tarzan is instantly recognizable to countless fans around the globe. Other notable creations of Burroughs’ include John Carter of Mars, Korak, Carson of Venus, and At the Earth’s Core.

“I first read these comics when I was 10 years old, and they remain some of my favorite stories ever,” said Editor Scott Dunbier, “this is Joe Kubert at his absolute best.”

What is an Artist’s Edition? Artist’s Editions are printed the same size as the original art. While appearing to be in black & white, each page has been scanned in COLOR to mimic as closely as possible the experience of viewing the actual original art—for example, you are able to clearly see paste-overs, blue pencils in the art, editorial notes, and art corrections. Each page is printed the same size as drawn, and the paper selected is as close as possible to the original art board.

JOE KUBERT’S TARZAN OF THE APE: ARTIST’S EDITION ($100, hardcover, black and white, 156 pages, 12” x 17”) will be available in stores September 2012.
Visit IDWPublishing.com to learn more about the company and its top-selling books. IDW can also be found at http://www.facebook.com/#!/idwpublishing and http://tumblr.idwpublishing.com/ and on Twitter at @idwpublishing.

Art: Tim Burgard

SEQUENTIAL PULP/DARK HORSE COMICS PRESENT TARZAN AT THE EARTH’S CORE-
Coming 2013 – TARZAN AT THE EARTH’S CORE Adapted by Martin Powell and illustrated by Tim Burgard. Tarzan At The Earth’s Core © Edgar Rice Burroughs Inc., Tarzan ® TM owned by Edgar Rice Burroughs Inc. and used by permission. Coming soon from Sequential Pulp/Dark Horse Comics.

Not bad for a guy turning 100, eh?

THE HALLOWEEN LEGION AND COMICS

Art: Diana Leto

Art: Thomas Boatwright

The World’s Weirdest Heroes, The Halloween Legion, excitedly anticipate their upcoming comics debut in their first graphic novel, with stories written by Martin Powell and illustrated by Diana Leto and Thomas Boatwright.

Coming soon from Sequential Pulp Comics and Dark Horse Comics.

THE HALLOWEEN LEGION Book One novel is available in both print and Kindle editions, just in time for Halloween. As the Spooky Season approaches…order your copy today!

Martin Powell and Diana Leto will appear on an upcoming October episode of the Earth Station One podcast to discuss the Halloween Legion.

The Halloween Legion ™ Martin Powell.

ONCE UPON A HALLOWEEN

The Halloween Legion ™ Martin Powell. Artwork © Diana Leto

New Pulp Author Martin Powell has unveiled the terror-ific atmospheric title page and peeks of partial panels for an autobiographic back-up tale, by Sesame Street artist Diana Leto, featured in his upcoming HALLOWEEN LEGION graphic novel. From Sequential Pulp/Dark Horse Comics.

You can see more Once Upon A Halloween art at Martin’s blog.

RELEASE THE HOUNDS

Dark Horse Comics has released solicitations for THE HOUND OF THE BASKERVILLES. Written by Martin Powell and illustrated by Jamie Chase, the graphic novel will be solicited in the October edition of Diamond Distributor’s Previews. The 64 page full color hardcover graphic novel will be released on February 20, 2013. The Hound of the Baskervilles retails for $12.99.

The Hound of the Baskervilles  is based on the classic Sherlock Holmes mystery by Sir Arthur Conan Doyle and is published by Sequential Pulp Comics and Dark Horse Comics.

“Daredevil”, “Hark! A Vagrant” Lead 2012 Harvey Awards Winners

lifetime-achievement-john-romita-jr-sr-stan-lee-300x401-6449237If you weren’t following our Twitter feed or our Facebook page in real time on Saturday night (and good heavens, why weren’t you?) the 2012 Harvey Awards were given out at the Baltimore Comic-Con. [[[Daredevil]]] was the big winner of the night with four wins for Best Series, Best New Series, Best Inker and Best Writer. [[[Hark! A Vagrant]]]‘s Kate Beaton won three with Best Online Comics Work, the Special Award for Humor, and Best Cartoonist. [[[Jim Henson’s Tale Of Sand]]] by Ramon Perez won two for Best Original Graphic Album and Best Story, tying [[[Walt Simonson’s The Mighty Thor: Artist’s Edition]]] with wins for Best Domestic Reprint Project and the Special Award for Excellence in Presentation, and J.H. Williams on [[[Batwoman]]] snagging Best Artist and Best Cover Artist.

The Dick Giordano Humanitarian Award from the Hero Initiative was given posthumously to Joe Kubert, while the Lifetime Achievement Award was handed to John Romita Jr. by his father and Stan Lee, much to JR JR’s shock and surprise.

Phil LaMarr did an excellent job as Master of Ceremonies, speaking from the heart as a true fanboy who’s made good as the voice of Green Lantern and Samurai Jack, as well as (and I didn’t know this until after the ceremony) playing future Mr. Terrific writer Eric Wallace in Free Enterprise. It didn’t really matter that he was a first-time host since, as he commented, the Harvey Awards were starting over and renumbering from #1. The keynote speech was delivered by Ross Richie, Big Kahuna at BOOM! And for our part, ComicMix was proud to be one of the many sponsors of the Harvey Awards this year.

The nominees are below, with winners in boldface.

1. Best Writer

Joshua Hale Fialkov, ECHOES, Top Cow
Laura Lee Gulledge, PAGE BY PAIGE, Amulet Books
Jeff Lemire, ANIMAL MAN, DC Comics
Jason Shiga, EMPIRE STATE: A LOVE STORY (OR NOT), Abrams ComicArts
Mark Waid, DAREDEVIL, Marvel Comics

2. Best Artist

Paolo Rivera, DAREDEVIL, Marvel Comics
Chris Samnee, CAPTAIN AMERICA AND BUCKY, Marvel Comics
Jason Shiga, EMPIRE STATE: A LOVE STORY (OR NOT), Abrams ComicArts
Craig Thompson, HABIBI, Pantheon Books
J.H. Williams, BATWOMAN, DC Comics

3. Best Cartoonist

Kate Beaton, HARK! A VAGRANT, harkavagrant.com; print edition by Drawn and Quarterly
Jeremy Haun, PILOT SEASON: THE BEAUTY #1, Image Comics
Jeff Kinney, DIARY OF A WIMPY KID: CABIN FEVER, Amulet Books
Roger Langridge, SNARKED, kaboom!
Comfort Love & Adam Withers, RAINBOW IN THE DARK, uniquescomic.com/rainbowinthedark
Craig Thompson, HABIBI, Pantheon Books

4. Best Letterer

Chris Eliopoulos, FEAR ITSELF, Marvel Comics
Laura Lee Gulledge, PAGE BY PAIGE, Amulet Books
Todd Klein, S.H.I.E.L.D.: ARCHITECTS OF FOREVER, Marvel Comics
David Lanphear, SECRET AVENGERS, Marvel Comics
Jason Shiga, EMPIRE STATE: A LOVE STORY (OR NOT), Abrams ComicArts

5. Best Inker

Laura Lee Gulledge, PAGE BY PAIGE, Amulet Books
Mark Morales, THOR, Marvel Comics
Sal Regla, THE MAGDALENA, Top Cow
Joe Rivera, DAREDEVIL, Marvel Comics
Jason Shiga, EMPIRE STATE: A LOVE STORY (OR NOT), Abrams ComicArts

6. Best Colorist

Elizabeth Breitweiser, CAPTAIN AMERICA AND BUCKY, Marvel Comics
Francesco Francavilla, BLACK PANTHER: THE MAN WITHOUT FEAR, Marvel Comics
Sunny Gho, ARTIFACTS, Top Cow
Dave McCaig, THE MAGDALENA, Top Cow
Dave Stewart, HELLBOY: THE FURY, Dark Horse

7. Best Cover Artist

John Tyler Christopher, ARTIFACTS, Top Cow
Marcos Martin, DAREDEVIL, Marvel Comics
Paolo Rivera, DAREDEVIL, Marvel Comics
Mark Simpson (Jock), DETECTIVE COMICS, DC Comics
J.H. Williams, BATWOMAN, DC Comics

8. Most Promising New Talent

Nick Bradshaw, ASTONISHING X-MEN, Marvel Comics
Nathan Edmondson, WHO IS JAKE ELLIS?, Image Comics
Laura Lee Gulledge, PAGE BY PAIGE, Amulet Books
Justin Jordan, THE STRANGE TALENT OF LUTHER STRODE, Image Comics
Sara Pichelli, ULTIMATE SPIDER-MAN, Marvel Comics

9. Best New Series

ANGEL & FAITH, Dark Horse
ANIMAL MAN, DC Comics
DAREDEVIL, Marvel Comics
LAST MORTAL, Top Cow
OZMA OF OZ, Marvel Comics
RACHEL RISING, Abstract Studio

10. Best Continuing or Limited Series

ATOMIC ROBO AND THE GHOST OF STATION X, Red 5 Comics
DAREDEVIL, Marvel Comics
DIARY OF A WIMPY KID: CABIN FEVER, Amulet Books
ECHOES, Top Cow
RACHEL RISING, Abstract Studio

11. Best Syndicated Strip or Panel

BIZARRO, Dan Piraro, syndicated by King Features Syndicate
CUL DE SAC, Richard Thompson, syndicated by Universal Press Syndicate
DOONESBURY, Garry Trudeau, syndicated by Universal Press Syndicate
MUTTS, Patrick McDonnell, syndicated by King Features Syndicate
PEARLS BEFORE SWINE, Stephen Pastis, syndicated by United Feature Syndicate

12. Best Anthology

DARK HORSE PRESENTS, edited by various, Dark Horse
FLIGHT #8, edited by Kazu Kibuishi, Villard Books
JIM HENSON’S THE STORYTELLER, edited by Nate Cosby, Archaia Entertainment
SHAME ITSELF, edited by Tom Brennan, Marvel Comics
SOMEDAY FUNNIES, edited by Michael Choquette, Abrams ComicArts

13. Best Graphic Album – Original

[[[EMPIRE STATE: A LOVE STORY (OR NOT)]]], Abrams ComicArts
[[[HABIBI]]], Pantheon Books
[[[INFINITE KUNG FU]]], Top Shelf Productions
[[[JIM HENSON’S TALE OF SAND]]], Archaia Entertainment
[[[ONE SOUL]]], Oni Press
[[[PAGE BY PAIGE]]], Amulet Books

14. Best Graphic Album – Previously Published

[[[BIG QUESTIONS]]], Drawn & Quarterly
[[[DARK TOWER OMNIBUS]]], Marvel Comics
[[[THE DEATH RAY]]], Drawn & Quarterly
[[[ECHOES]]], Top Cow
[[[PS MAGAZINE: THE BEST OF PREVENTIVE MAINTENANCE MONTHLY]]], Abrams ComicArts
[[[S.H.I.E.L.D.: ARCHITECTS OF FOREVER]]], Marvel Comics

15. Best Single Issue or Story

DAREDEVIL #7, Marvel Comics
ECHOES #5, Top Cow
GANGES #4, Fantagraphics
THE HOMELAND DIRECTIVE, Top Shelf Productions
JIM HENSON’S TALE OF SAND, Archaia Entertainment
OPTIC NERVE #12, Drawn & Quarterly
ZORRO RIDES AGAIN #1, Dynamite Comics

16. Best Domestic Reprint Project

[[[BLACKJACKED AND PISTOL WHIPPED: A CRIME DOES NOT PAY PRIMER]]], Dark Horse
[[[THE COMICS: THE COMPLETE COLLECTION]]], Abrams ComicArts
[[[DEFINITIVE FLASH GORDON AND JUNGLE JIM]]], IDW
[[[WALT DISNEY’S MICKEY MOUSE (THE FLOYD GOTTFREDSON LIBRARY)]]], Fantagraphics
[[[WALT SIMONSON’S THE MIGHTY THOR ARTIST’S EDITION]]], IDW

17. Best American Edition of Foreign Material

[[[ADVENTURES OF HERGE]]], Drawn & Quarterly
[[[THE KILLER VOL. 3: MODUS VIVENDI!]]], Archaia Entertainment
[[[THE MANARA LIBRARY VOL. 1: INDIAN SUMMER AND OTHER STORIES]]], Dark Horse
[[[ONWARD TOWARD OUR NOBLE DEATHS]]], Drawn & Quarterly
[[[SINGLE MATCH]]], Drawn & Quarterly

18. Best Online Comics Work

BATTLEPUG, Mike Norton
BUCKO, Erika Moen and Jeff Parker
DELILAH DIRK AND THE TURKISH LIEUTENANT, Tony Cliff
GRONK, Katie Cook
HARK! A VAGRANT, Kate Beaton

19. Special Award for Humor in Comics

Kate Beaton, [[[HARK! A VAGRANT]]], harkavagrant.com; print edition by Drawn and Quarterly
Evan Dorkin, [[[MILK AND CHEESE: DAIRY PRODUCTS GONE BAD]]], Dark Horse
Jeff Kinney, [[[DIARY OF A WIMPY KID: CABIN FEVER]]], Amulet Books
Roger Langridge, [[[SNARKED]]], kaboom!
Lela Lee, [[[FAIRY TALES FOR ANGRY LITTLE GIRLS]]], Abrams ComicArts

20. Special Award for Excellence in Presentation

JIM HENSON’S TALE OF SAND, designed by Eric Skillman, Archaia Entertainment
PS MAGAZINE: THE BEST OF PREVENTIVE MAINTENANCE MONTHLY, selected by Eddie Campbell, Abrams ComicArts
RICHARD STARK’S PARKER: THE MARTINI EDITION, designed by Darwyn Cooke, IDW
SOMEDAY FUNNIES, edited by Michael Choquette, Abrams ComicArts
WALT SIMONSON’S THE MIGHTY THOR ARTIST’S EDITION, designed by Randall Dahlk & edited by Scott Dunbier, IDW

21. Best Biographical, Historical, or Journalistic Presentation

ALAN MOORE: STORYTELLER, Universe Books
THE COMICS JOURNAL, Fantagraphics
GENIUS ISOLATED: THE LIFE AND ART OF ALEX TOTH, IDW
GOVERNMENT ISSUE: COMICS FOR THE PEOPLE, 1940s-2000s, Abrams ComicArts
PS MAGAZINE: THE BEST OF PREVENTIVE MAINTENANCE MONTHLY, Abrams ComicArts

22. Best Original Graphic Publication for Younger Readers

ANYA’S GHOST, First Second
DIARY OF A WIMPY KID: CABIN FEVER, Amulet Books
FRAGGLE ROCK, Archaia Entertainment
MYSTIC, Marvel Comics
OZMA OF OZ, Marvel Comics
SNARKED, kaboom!

Congratulations to all the winners!

Diamond announces August 2012 Best Sellers

Avengers Vs. X-Men #9 from Marvel Comics, the best-selling comic book to specialty retailers in August 2012, according to information provided by Diamond Comic Distributors, the world’s largest distributor of comics, graphic novels, and pop culture merchandise.

DC Entertainment was August’s leading publisher in Retail Dollars, leading Marvel Comics 33.32% to 32.42%. Meanwhile, Marvel Comics edged DC Entertainment on the Unit Market Share for the month, 37.18% to 37.12%.

For the second month in a row, Geoff Johns and Gary Franks’ [[[Batman: Earth One]]], the original graphic novel that reimagines the early days of Batman, was the best-selling graphic novel to retailers.

Based on Warner Bros. Interactive Entertainment’s best-selling Batman: Arkham Asylum video game, Square-Enix’s Batman: Arkham Asylum Play Arts ~Kai~: Harley Quinn Action Figure was the best-selling toy product to comic book specialty retailers in August.

Earth’s most powerful heroes join the HeroClix campaign with the DC HeroClix: Justice League Expansion from WizKids/NECA, the best-selling games product to comic book specialty retailers in August.

TOP COMIC BOOK PUBLISHERS

PUBLISHER

DOLLAR

SHARE

UNIT

SHARE

DC COMICS

33.32%

37.12%

MARVEL COMICS

32.42%

37.18%

IDW PUBLISHING

5.88%

4.64%

IMAGE COMICS

5.75%

5.37%

DARK HORSE COMICS

4.92%

3.89%

DYNAMITE ENTERTAINMENT

3.19%

3.16%

EAGLEMOSS PUBLICATIONS LTD

1.83%

0.40%

BOOM! STUDIOS

1.52%

1.48%

VIZ MEDIA

0.96%

0.41%

ARCHIE COMICS

0.85%

0.82%

OTHER NON-TOP 10

9.35%

5.52%

COMPARATIVE SALES STATISTICS

 

DOLLARS

UNITS

AUGUST 2012 VS. JULY 2012

COMICS

6.49%

6.38%

GRAPHIC NOVELS

22.13%

19.48%

TOTAL COMICS/GN

11.23%

7.43%

AUGUST 2012 VS. AUGUST 2011

COMICS

19.27%

14.22%

GRAPHIC NOVELS

14.95%

24.74%

TOTAL COMICS/GN

17.80%

15.09%

YEAR-TO-DATE 2012 VS. YEAR-TO-DATE 2011

COMICS

20.51%

17.97%

GRAPHIC NOVELS

14.13%

12.78%

TOTAL COMICS/GN

18.41%

17.54%

TOP 10 COMIC BOOKS

RANK

DESCRIPTION

PRICE

ITEM CODE

VENDOR

1

AVENGERS VS X-MEN #9

$3.99

JUN120592-M MAR

2

AVENGERS VS X-MEN #10

$3.99

JUN120599-M MAR

3

BATMAN #12

$3.99

JUN120177-M DC

4

JUSTICE LEAGUE #12

$3.99

JUN120142-M DC

5

AMAZING SPIDER-MAN #692

$5.99

JUN120622-M MAR

6

BEFORE WATCHMEN: RORSCHACH #1 (MR) [*]

$3.99

JUN120129-M DC

7

AVX VS #5

$3.99

JUN120590-M MAR

8

BEFORE WATCHMEN: DR. MANHATTAN #1 (MR) [*]

$3.99

JUN120134-M DC

9

GREEN LANTERN #12

$2.99

JUN120196-M DC

10

DETECTIVE COMICS #12

$3.99

JUN120181-M DC

TOP 10 GRAPHIC NOVELS & TRADE PAPERBACKS

RANK

DESCRIPTION

PRICE

ITEM CODE

VENDOR

1

BATMAN: EARTH ONE HC

$22.99

MAR120234 DC

2

THE WALKING DEAD VOL. 1: DAYS GONE BYE TP

$9.99

JUL068351 IMA

3

SWAMP THING VOL. 1: RAISE THEM BONES TP

$14.99

MAY120280 DC

4

SUPERMAN: ACTION COMICS VOL. 1: SUPERMAN MEN OF STEEL HC

$24.99

APR120245 DC

5

BATMAN VOL. 1: THE COURT OF OWLS HC

$24.99

JAN120300 DC

6

HULK SEASON ONE PREMIERE HC

$24.99

MAY120746 MAR

7

SCOTT PILGRIM VOLUME 1 COLOR HC

$24.99

MAY121234 ONI

8

STAR WARS: THE CLONE WARS: SITH HUNTERS TP

$7.99

APR120041 DAR

9

THE WALKING DEAD VOL. 2: MILES BEHIND US TP

$14.99

SEP088204 IMA

10

FEAR ITSELF TP

$29.99

JUN120721 MAR

TOP 10 TOYS

RANK

DESCRIPTION

ITEM CODE

VENDOR

1

BATMAN: ARKHAM ASYLUM PLAY ARTS KAI: HARLEY QUINN ACTION FIGURE JAN128132 SQU

2

BATMAN: ARKHAM ASYLUM PLAY ARTS KAI: ARMORED BATMAN ACTION FIGURE JAN128131 SQU

3

TEENAGE MUTANT NINJA TURTLES RETRO COLLECTOR FIGURES APR121769 PLA

4

MARVEL SELECT: AVENGERS MOVIE ENEMY FIGURE JAN121705 DST

5

ALICE: THE MADNESS RETURNS SELECT FIGURE JAN121700 DST

6

BATMAN BLACK & WHITE STATUE: DARWYN COOKE APR120307 DC

7

AVENGERS MOVIE: IRON MAN MK VII ARTFX STATUE MAR121684 KOT

8

BATMAN BLACK & WHITE STATUE: DICK GRAYSON BY JOCK MAY120346 DC

9

FORBIDDEN PLANET: ROBBY THE ROBOT 12-INCH FIGURE FEB121668 X P

10

MARVEL UNIVERSE ACTION FIGURES JUN121848 HAS

TOP 10 GAMES

RANK

DESCRIPTION

ITEM CODE

VENDOR

1

DC HEROCLIX: JUSTICE LEAGUE APR121984 NEC

2

MARVEL HEROCLIX: CHAOS WAR BOOSTER BRICK APR121987 NEC

3

DOCTOR WHO ACTION BOARD GAME OCT101791 DIA

4

DC HEROCLIX: JUSTICE LEAGUE FAST FORCES 6-PACK APR121985 NEC

5

WONDERLAND BOARD GAME APR121345 ZEN

6

THE WALKING DEAD TV BOARD GAME JUL112137 CRY

7

THE WALKING DEAD COMIC BOARD GAME JUL112185 Z-M

8

MAGIC THE GATHERING TCG: 2013 CORE SET EVENT DECK APR121978 WIZ

9

MAGIC THE GATHERING TCG: 2013 CORE SET BOOSTERS APR121977 WIZ

10

PATHFINDER BATTLES: RISE OF THE RUNELORDS BOOSTER BRICK MAY128110 NEC

Data for Diamond’s sales charts — which include the monthly market shares and all top product charts — are compiled by Diamond Comic Distributors from a universe of over 3,500 comic book specialty shops located in North America and around the world. The account base includes brick-and-mortar comic book specialty shops, Internet merchants, and other specialty stores.

Unit and dollars sales are calculated based upon orders invoiced and shipped to Diamond accounts during any given month, which comprises initial pre-orders, advance reorders, and reorders, minus any copies that are received back from a title marked as returnable.

Please note that comics marked with an asterisk have had their reported quantities reduced due to retailer returnability, and thus may rank lower on the charts than their actual sales would reflect.

Michael Davis: Milestones – African Americans In Comics, Pop Culture And Beyond, Part 3

Please read parts one and two before this installment.

The Comics Code Authority (CCA) tried its best to stop EC from publishing a particularly offensive (to them) comic book. The book they were trying to stop was Weird Fantasy #18 (April 1953); the story was called “Judgment Day.”

What was objected to was not a gory scene of a space monster under orders from a criminal ripping to pieces an earth girl who, clad in scant bra and panties, was an obvious sexual tease for 50s era yikoung boys.

What was objected to was the main character, an astronaut, was revealed on the last page in the last panel to be a black man. Wow, who knew that the Tea Party was alive and well in 1953 under the name Comics Code Authority?

Why am I surprised at this? The GOP thinks that a woman can’t get pregnant and everyone knows that’s science fiction but (sorry Peter) I digress…

The CCA demanded the story removed or the last panel changed to a white boy. ECs editor William Gaines, the publisher of Weird Fantasy, responded to that demand with “Fuck you.”

Three years later, Gaines reprinted the story in the final issue (#33) of Incredible Science Fiction.

William Gaines was gangsta.

Like Branch Rickey, the man who brought Jackie Robinson to professional baseball, William Gaines was a civil rights pioneer. Both were white men and although Gaines rarely gets any kudos for his civil rights stance, certainly not the way Rickey is remembered.

That shot fired in 1956 started a war in the comic book industry over black story lines, black characters and black creators and that war continues today. A war not nearly as difficult as it was in 1956 but a war nevertheless.

1956 meet 1993 meet 2012…

In 1993 Denys Cowan, Dwayne McDuffie, Derek T. Dingle, Christopher Priest and myself founded Milestone Media.

Milestone was a worldwide phenomenon making history with its ground breaking deal with DC Comics. At the time the deal with DC was the biggest joint venture deal ever done in comics.

The deal was not the reason Milestone was heralded. Milestone was rocketed in front of the public because the founders were four African American men. We were four because Christopher Priest left the company before Milestone published.

In the almost 20 years since Milestone came on the scene the company is still thought of as the penultimate African American comic book company.

That’s good.

That’s bad.

It’s good because Milestone accomplished something that was a long time coming. Milestone put black content on the map. Black creators, black characters and black story lines were propelled to the forefront of the American comic industry. Never before in comics long history has African American content captured the imagination of fans, retailers and the press.

It’s bad because Milestone is almost 20 years old and still the penultimate African American moment in comics. As a founder of Milestone that gladdens me as an African American creator it also saddens me.

Where is the next wave?

Within the African American comics’ community there exists splits’ that mainstream comic book readers for the most part are not aware of. Among most black creators Milestone is respected, but there are some young black creators who see Milestone as sellouts, Uncle Toms or worse. Some in the black comic book community have gone so far as to brand Milestone, House Niggers when discussing our groundbreaking deal with DC Comics.

This is the state of the very real divide within the black comics community.

There is a thriving independent group of young black creators who are doing bold and wonderful work. They publish with small indie houses or they self-publish. The stories they are creating are mostly Afro-centric, mostly positive but there are some which are anti-establishment, a.k.a. anti-white.

On the flip side of that there is a contingent of black creators who reject all other forms of publishing unless a major publisher publishes them and by major publisher I mean the two big boys, Marvel and DC. Lastly there are those black creators who would not publish with Marvel or DC if their lives depended on it, seeing both companies as comic’s answer to plantations.

With all the seemingly inexhaustible black talent out there I ask again…

Where’s the next wave?

Why is a new black anything (comic, creator, character) at Marvel or DC still seen as a breakthrough 20 years after Milestone and 58 years after Judgment Day?

Case in point, Marvel’s new half black, half Latino Spider-Man. That was a huge story, which captivated numerous news cycles. The recent cancellation of DC Comics’ New 52 Static Shock after only six issues sent shock waves (pun intended) throughout the industry.

The outcry from fans on the net went from, oh no Static was cancelled to Static was cancelled because he was black.

Here’s what Denys Cowan and I, co-creators of Static Shock and both black creators think, Static was cancelled because this hit, cool, teenage hero was fighting a giant fish.

Up until now there has been no serious attempt to showcase African Americans and the creative excellence, which has been a mainstay of the industry for as long as comics have been an American art form. Unfortunately at the beginning of the American comic book business, African Americans were depicted most often as horrible stereotypes.

I’ve seen that movie; Milestones: African Americans In Comics, Pop Culture And Beyond will not be that kind of show. 

Yes, there will me a nod or two to the depiction of those sad and hurtful images. However, this show will be about the vast talent and wonderful innovation that came from or were influenced by African Americans.

From the faceless contributions of those like William Gaines almost 60 years ago to the constant search for African American talent by Mike Richardson to the acknowledgement of contributions by people like Jenette Kahn, Marv Wolfman, Stan Lee and Jack Kirby this show will embrace the totality which is black comics.

Make no mistake; the overwhelming focus will be on black creators and their art. But let’s face it there would have been no Static Shock without the Black Panther.

It’s my hope that the show will feature not just the work of mainstream black creators but also work from those who consider themselves outside the mainstream as well as those who want nothing to do with the mainstream. I’d like the major comic book companies like Marvel, DC and Dark Horse to have sections devoted to them and their efforts to level the racial playing field but also let’s learn from the mistakes they made.

Independent and new companies will be invited to participate as long as the work from that company is quality. Let’s face it; some independent publishers simply suck.

I don’t care if you are the son of Malcolm X. If your work sucks you will not be represented in the show and I’ll keep you out by any means necessary.

Damn, I’m witty!

Writers from within and outside the comics industry will be called upon to write essays and reflections on the fight for acceptance and the triumph of arriving and exceeding expectations.

In America it’s no secret that African American culture is pop culture so it’s my objective to showcase that. I may fail, I may not be the guy that should have been chosen for this wonderful event but from the bottom of my heart I swear I will do the best I can.

If I fail, it’s my fault…and the Tea Parties…what?

WEDNESDAY: Mike Gold, Passion and Wonder

 

ARTIST TOM GRINDBERG TAKES ALL PULP ON A TOUR OF TARZAN’S AFRICA

All Pulp sat down with Tom Grindberg, artist of the upcoming Tarzan Sunday Strips about the project as well as his comic book career and love of pulps.

AP: Tell us a little about yourself and your pulp and comic book interests.

TG: Pulps in general were their from the beginning and deserve as much place if not more importance than that other medium called comics. My interests and appreciation for the Pulps was the blend of text enhanced with pictures. So many great illustrators of that era are just being discovered by today’s artists and fans and I for one am a huge fan too. I also would love to see more publishers repackage some key stories or even lessor known works to a new audience of fresh eyes. So much material could spawn and inspire this younger crop of creators coming into the business pervaded with only superheros. The pulps have so much variety and choices for any group out there looking for newer idea’s to entertain.

AP: How did you get your start as a comic book artist?

TG: I went to both Marvel and DC comics back in 1981 when I was still 19 years old and began my career in comics. I went to Marvel and met Jim Shooter who was the EIC at the time and he basically asked which rock did I crawl from under and gave me my first assignment. It was an inventory job to test me out on. That same day I went to DC’s offices and met Ernie Colon they’re art director at the time. He offered about the same thing but did mention something about illustrating Batman, which really was not as hot as the Marvel characters at the time and since I already had a commitment from Marvel I stayed put with my first offer. Never take your first offer! Sometimes it’s best to go with your gut instincts. nuff said!

AP: With Tarzan’s 100th anniversary in full swing, you’ve landed the art duties on a new Tarzan Sunday web strip along with writer Roy Thomas. What can we expect from this new strip?

TG: Well for one thing you can bank on all new plots and art! Both me and Roy have plotted roughly years worth of material. Most of that material will happen in Africa in the 1940’s before the second world war and thus allow us to bring that element if it crosses Tarzans path to be included. Tarzan, Jane as well as the Wazuri tribe are part of the cast along with La of Opar. We also want to explore as many places within the Tarzan universe that ERB created as possible. The possibilities are endless and I hope that we can entertain old as well as new readers to keep everyone interested in the strip.

AP: Will the Tarzan strip be an on-going project?

TG: Yes, we will be doing only Sundays at this moment for as long as it is feasible for us to continue a continuity strip. Essentially, its all up to you and the readers and how much of a need there is for this centennial character.

AP: Anything you can tease about the new Tarzan strips?

TG: Not to give too much away but I have been teasing the heck out of many on FaceBook lately and have stirred up enough peoples expectations and interest enough. They what to see more and more. I’ll keep posting newer images without spoiling too much of the storyline.

AP: Do you, as an artist, approach doing Tarzan as a web comic any differently than if you were doing it for a newspaper or comic book?

TG: Not really, only thing is that if it does go to print the dimensions of the book will be more rectangular, but other than that my I approach this with the same attitude as regular comics. Though with each Sunday your more focused on keeping the readers expectations high so that they want to see next weeks installment, I think in today’s comics your allowed a bit more room to roam and not too confined. In every Sunday I am trying to give the readers as much art as possible without it looking like a pile of mini panels unless it warrants it for something narrative or cinematic. I love to create a rich and lush environment but not to overkill the entire design of each Sunday with too much or too muddy it up.

AP: There seem to be many different opinions about what can be defined as pulp. How do you define pulp and what do you look for in a pulp story as an artist and a reader? Is Tarzan a pulp hero?

TG: Initially, Tarzan was just prose written by the author with perhaps a few illustrations…In its basic form that is how I imagined pulps were then and now. I would regard pulps as text and a few pictures.

AP: Tarzan is not your first time stepping into the world of these types of pulp characters. How does working on Tarzan compare and contrast to working on Conan?

TG: Different time periods for starters. Conan world is just as dangerous as Tarzan’s. Conan’s world is full of wizards monsters and epic battles with Conan managing to come out on top with but a few scratches while Tarzan’s world is more modern and probably more realistic even if you can imagine a boy being raised by gorillas and then learning to speak there language and communicating with about every beast in the jungle which is of course both characters are based in Fantasy which is more interesting to illustrate. Action, adventure and fantasy is core reason why I love both characters so much and respect Burroughs and Howard characters and all their creations.

AP: Where do you see the comic book industry in the future? And how can we get the millions of fans that enjoy movies based on comic books to pick up the source material?

TG: I think I see comics moving more on line and less standing in lines. I believe computers have been a very important tool for us to get information from and that its much cheaper to operate and get your message out to millions across the world. I think this is next evolution in the world of comics and self-publishing. If it sells well online then by all means produce it in trade paperback form. I still like holding the finish product in my hands. If Hollywood and comics could join forces in a project it might create a whole new genre. I imagine motion comics or animatics may be this new direction. Static pictures are not enough for this American audience who wishes to be amazed and not bored.

AP: Is there a particular character out there you haven’t had the chance to work on that you would love to take a crack at drawing?

TG: I would like to illustrate Raymond’s Flash Gordon or Foster’s Prince Valiant…So far, I have a real gem on my hands right now, that being TARZAN…I’m not complaining at all!

AP: Where can readers find information on you and your work?

TG: For right now, I am on FaceBook and would encourage anyone becoming friends with me and wanting to see more of what I do this is the one stop spot for the time being. Later on, I imagine I’ll be needing my own website but that’s down the road.
 

AP: What upcoming projects do you have coming up that you can tell us about at this time?

TG: I have been offered a shot at Bruce Jones return to his book Alien Worlds and hope to be collaborating with him very soon on a few short stories produced by RAW Publications. I always, loved his collaborations in the past as well as his own art and look forward to putting both feet into something more suited to what I really like to do best which is Science Fiction Fantasy. I have been doing a few covers a year for Moonstone’s licensed character Airboy but not nearly enough of anything with Dark Horse, Marvel or DC.

AP: Do you have any shows, signings, or conventions coming up where your fans can meet you?

TG: No, but I really need desperately to get out more often and seek out my readers and art lovers. Its a funny situation when you don’t produce enough material yearly to warrant going to shows to show off a few covers but, that will change once the Tarzan strip gets up and running. I live in the Brooklyn New York area and will try to be at the next Comic Con.

AP: And finally, what does Tom Grindberg do when he’s not drawing?

TG: I spend most of my time with my wife and our little daughter Katie who is now 18 months old. They are best things in my life right now and deserve so much attention for all the joy they give me.

AP: Thanks, Tom. We’re looking forward to the premiere of the Tarzan Sunday Strips.

You can learn more about Tarzan and the Sunday Strips at www.edgarriceburroughs.com
You can learn more about Tom Grindberg at www.facebook.com/tom.grindberg

COVERING EARTH’S CORE!

COVERING EARTH’S CORE!

Artwork © Jamie Chase.

Artwork © Jamie Chase.

Sequential Pulp Comics shared this first look at the cover for the new graphic novel adaptation of Edgar Rice Burroughs’ classic sci-fi adventure, AT THE EARTH’S CORE.

At The Earth’s Core is written by Martin Powell with artwork by Jamie Chase. This project is authorized by ERB, Inc., and published by Sequential Pulp/Dark Horse Comics.

You can learn more about Sequential Pulp Comics at www.SequentialPulpComics.com

You can learn more about Dark Horse Comics at www.darkhorse.com