Reuniting the creative team of DC Comics’ acclaimed Starman series for the first time in decades, and sold with the promise of revealing the story behind Threepio’s one red arm in The Force Awakens, this issue was delayed numerous times (it was originally intended to be published shortly before the film’s release, not months after) due to a long script approval process from LucasFilm (according to Harris, he and Robinson didn’t receive final approval until about a week before the issue’s first solicited release date). As a result, expectations for this issue grew to possible unreasonable proportions: no story could possibly live up to the hype generated just by virtue of its constant rescheduling.
The oft-tumultuous publication history of this series ends with this issue, the series’ final. Originally announced as six issue miniseries, it was promoted to ongoing before the first issue went on sale. Then, when issue #12 was solicited last December, it became the first casualty of Marvel’s new Star Wars line (sort of, because again, it technically was conceived as finite series to begin with). At any rate, it’s not really a surprise; despite strong sales relative to many other mainstream Marvel and DC series, the back half of the series were some of the lowest-selling issues of any of Star Wars books, and quality-wise, the book always seemed to land thoroughly in the middle of the pack, rarely awful but just as rarely never excellent, either.
Since then, Punisher has remained a viable character and maintained a consistent publishing presence, though his heyday of carrying multiple books and making routine guest appearances in all corners of the Marvel Universe are long behind him. And, really, that’s for the best: on his own, the Punisher is a compelling character. A shattered soldier, driven to extremes by the death of his family. He’s a Batman who eschews the theatricality of a costume and has no qualms about killing bad guys, and that type of character can be engaging and entertaining. But Punisher works less well as a protagonist in a shared superhero universe. Put him side-by-side next to guys like Daredevil or Captain America, and everyone gets watered down: the Punisher doesn’t kill anyone (because the heroes won’t let him), and the heroes look like idiots for not capturing this guy who willingly operates so far outside their usual “no killing” code.
A number one issue is a tough thing to figure out, especially when building your own world as Joe Harris and Martín Morazzo are doing in Snowfall #1. The balancing act between setting up your story and characters, while maintain the mystery and intrigue that will draw them back for issue two is maybe one of the most difficult things to do in comics.
October 21, 2015, I woke up in my Atlantic Beach home around 7:00 AM. I got dressed, made sure my bags were packed, ate a light breakfast, and took off in my car. Today was my trip to Melbourne, Florida where I would be meeting my friend Jade, and we both would be going to Famous Faces & Funnies for a Skype Q&A with the one and only Brian K. Vaughan.
Not only does Steve Orlando’s Midnighter comic star a gay man, it tells blunt, sex-positive stories about that character. The main cast of characters in the upcoming main Avengers comic All-New, All-Different Avengers has a small minority of white dudes.
While there is still a lot of work on the road to a utopia of complete social justice, there is a trend of progressivism in some of today’s superhero comics that is impossible to ignore.
Ever wonder what’s lurking in the shadows? No? Well, Chiller can fix that. A frightening collection of horror stories, Chiller is a webcomic series found on LINE Webtoon that utilizes its digital platform to ensure an interactive storytelling experience that leaves readers willing the sun to rise faster.
Most licensed fiction takes one of two approaches to its stories: tales set before the main narrative, showing what characters were up to before their original story, or stories set after, showing the further adventures of the characters. IDW’s new Back to the Future series, subtitled “Untold Tales and Alternate Timelines” intends to do both (and more), telling tales set before, after, during and sideways to the events of the movies, as Bob Gale, co-writer of the three films, is joined by a series of writers and artists for a unique kind of anthology series.
It’s a silly fear that haunts the deep recesses of my mind from time to time that is constantly pushed further and further back as independent artists get to work on new properties. The latest example is I Hate Fairyland from Skottie Young over at Image Comics, based around a premise so neat and original that it’s downright annoying it only recently came into existence.
Inspired not by other comics but by his strong religious faith and love of strange movies, Joe Badon’s The Man with Ten Thousand Eyes Kickstarter comic looks for $3,000 by Friday, Nov. 13.
“This is kind of like a super abstract internal dialogue I’m having with myself about my walk with God, but in a super weird, noir, crazy abstract filter,” said Badon via Skype interview.
The first panel I attended at New York Comic Con was the LGBT in Comics panel on Thursday, October 8. It was sponsored by TimesOUT, an LGBT affiliate of the New York Times. The lineup was quite star-studded and possibly the first time that three bisexual men have sat on a panel at a comics convention together. It consisted of writer Steve Orlando (Midnighter), artist Kris Anka (Uncanny X-Men), writer Jennie Wood (Flutter), artist Babs Tarr (Batgirl), cover artist Kevin Wada (She-Hulk), and writer James Tynion IV (Memetic). They represent a broad spectrum of comics genres from fashion forward superheroes to YA survival stories and even exploitation sub-genres. The panel was moderated by New York Times writer Jude Biersdorfer.