Today saw the release of the first issue of Newburn, a crime comic published by Image that follows a private detective, Ed Newburn, as he navigates the NYC underworld. Chip Zdarsky (Stillwater, Daredevil) and Jacob Phillips (That Texas Blood) worked together on the project which has debuted to very positive reviews so far.
Apparently someone believed in the book early on as the duo revealed that Newburn has already been optioned for a TV series, which the duo revealed last night during a live stream with the guys at Comic Book Club. The talk about Newburn comes up around the 18 minute mark.
While they didn’t reveal which service has optioned the book, Zdarsky does mention that whichever studio it was needed nothing more than the first 3 issues to make the call. You can probably pick up a few copies of Newburn at your LCS today and flip them for a profit in the near future!
Over the past week, Marvel Comics teased the coming of a new Iron Fist. First, a drawing, reminiscent of John Romita’s famous Spider-Man No More panel teased Danny Rand abandoning the identity; that was quickly followed up the next day by another sketch of a mysterious character sporting the classic colors of the Immortal Weapon of K’un-Lun. Now, after a closer look at the details of the two drawings, it seems the identity of the new Iron Fist can be deduced.
A closer look at the “Iron Fist No More” teaser shows turquoise shards scattered around the dumpster in which Danny Rand has deposited his Iron Fist costume. Those shards share an uncanny resemblance to the Sword of Fu Xi, the millennia-old sword wielded by Lin Lie, aka Sword Master. It’s probably then no coincidence that the character on display in the follow-up image is sporting the very same belt worn by Lie since he first appeared in Marvel Comics.
The Sword of Fu Xi, much like the Ebony Blade wielded by the Black Knight, gives its owner incredible power while also leading them down a dark road. Both blades were recently used to help dispatch of Knull in the King in Black event. The sword’s destruction and the appearance of the demons in the “Iron Fist No More” sketch (take a close look) could explain both how Lie gains his new powers and the threat he will face in the new 5-issue limited series.
Marvel Comics Iron Fist will be on shelves in your LCS in February and available for pre-order soon!
Marvel Comics will celebrate Johnny Blaze’s 50th anniversary next year and will do so, in part, by giving the OG Ghost Rider a new, ongoing solo series. Writer Benjamin Percy (Wolverine, X-Force) and artist Cory Smith (Conan the Barbarian, Phoenix Song: Echo) will work together on the book and talked to Marvel.com about their plans for the Spirit of Vengeance.
Percy, whose character work on Wolverine is right up there with the legendary Chris Claremont, has always been attracted to the horror aspects of the character:
I’m a horror head. I grew up reading Stephen King, watching John Carpenter, and listening to Black Sabbath, and when it came to comics, I always reached first for the dark and weird which means I read a hell of a lot of Ghost Rider. That flaming skull. That spiked leather jacket. That monstrous bike coughing out clouds of sulfurous exhaust. To this day, the sight of the character blazing along a midnight highway makes my heart rev like a four-stroke engine.
The new series will see Blaze holding down a steady job and living the dream with his wife and two kids in a small town…but life isn’t all white picket fences when you’re hosting a vengeful spirit. Percy seems uniquely positioned to move the character into a new era while still paying homage to his wild, metal roots.
Ghost Rider is arguably the best designed, but inarguably, the most heavy metal character in all of comics. It would be badass to write this series at any point in my life, but launching on the 50th anniversary feels especially (un)holy. Cory Smith is killing it on art, and we’re going to honor the past while burning rubber into a terrifying future packed with mystery, action, and shadow-soaked emotion. Prepare yourself for the ultimate in road horror.
Johnny was recently seen going toe-to-toe with his brother, Danny Ketch (who is also a Rider) and taking over the throne of Hell. It is interesting to see Marvel launch a new solo series next year given the rumors that continue to swirl about the character joining the MCU. Pre-orders for Ghost Rider #1 will open up this week and the book will hit your LCS in February.
Marvel Entertainment loves synergy. With Kevin Feige now the CCO of Marvel Entertainment, that means The-One-Above-All not only oversees Marvel Studios, but also Marvel Comics and can make sure the two departments are coordinating with peak synergy. In this case, that means that Marvel Comics will be launching a new She-Hulk series early next year to get the character back in the limelight ahead of the Disney Plus streaming series also slated for 2022.
Jennifer Walters has served as an Avenger in Jason Aaron’s 49-issue run on the team book and her adventures with Earth’s Mightiest Heroes have continued what has been a challenging period for the characters since she was killed by Thanos in 2016’s Civil War II. Now writer Rainbow Rowell and artist Roge Antonio will put Jennifer at the center of her own title for the first time since Mariko Tamaki’s 2016 Hulk series when She-Hulk #1 hits your LCS January 12th. The new series will see Jen “embark on a journey that heralds back to her fan-favorite solo adventures of the past while embracing a fresh new future for the character.”
Rowell, who has been writing Runaways for Marvel since 2017, is excited to put her spin on the longtime fan favorite:
She-Hulk is the best of the best. She’s smart, she’s funny—and she’s really and truly heroic (all that and she has the best hair in comics). Jen has always been at the top of my Marvel wishlist, and I’m thrilled to be writing her next chapter.
The series will take Walters back to the courtroom and into the lives of some prior acquaintances, both friend and foe with last page of the first issue taking Jen “down a road she’s never traveled that will shake up her life and possibly the whole Marvel universe.“
There have been quite a few controversies surrounding Marvel. Its CEO Isaac Perlmutter has been the focus of many discussions surrounding his secrecy, frugality, and almost pushing Marvel Studios president Kevin Feige to leave due to creative differences. Yet, there’s one more story that has regained some momentum as of late. Marvel Comic’s Editor-in-Chief C.B. Cebulski is another figure that is surrounded by quite the controversy. The writer has been with Marvel for quite some time, but most notoriously worked under the Japanese pseudonym of Akira Yoshida, where he tackle projects like X-Men, Thor, and many more.
The thing is, he didn’t just use the name as a pen name but also gave interviews acting as if he was Japanese. This news has now drawn the attention of Daredevil showrunner and comic writer Steven DeKnight. In a statement on Twitter, he has now announced that after his upcoming issues release in December, he refuses to write for the comic powerhouse until the topic surrounding this controversy is “resolved.” He also calls out for others in the field to do the same.
Completely unacceptable. Writing for Marvel is a childhood dream come true. My next issues come out in December. But I can’t in good conscience accept any additional work until this is resolved. I hope other creatives will follow suit. https://t.co/vbKReksGk8
The whole story surrounding Cebulski’s pen name is quite a bizarre story. He wouldn’t take on the role of EiC until 2017, where this controversy was making the rounds. It’s a big and important stand to take by Steven DeKnight. We’ll likely see others join the cause and the comic industry might face a major shift in the near future to continue fighting for equality within the industry.
I’ve been a comic book reader for as long as I can remember. Given how my dad was a former collector, there’s a good chance I read through a comic before even getting my hands on a coloring book. And I’m still at it reading comics on a daily basis to this day.
I figured that, with the dozens of titles I read in a year, it might be productive to share my thoughts on them in this new series I’m trying called OMNIBUS. I read a lot of bad comics as much as I read good ones so not all the books you’ll see in this series will be recommendations. Think of this as a comic book diary.
MAGNETO
Remember that scene in X-Men: First Class where Magneto visits some Nazis chilling in a bar and gleefully murders them? That’s pretty much the selling point for this Magneto solo run.
Cullen Bunn and Gabriel Walta’s take on the Master of Magnetism is relatively simple yet so precise. A no-frills John Wick-esque revenge tale of Magneto hunting down people who have wronged mutantkind. There are elements of a forensic procedural to it as the story cuts between Magneto’s bloody road of vengeance with the S.H.I.E.L.D. officers hunting him down.
The premise gets muddled halfway when the then-event Axis ties in but Bunn still manages to stay true to the core of Magneto’s pursuit of ending bigotry against mutantkind no matter the cost. If you’re itching to see a relatively standalone arc starring one of Marvel’s greatest villains, this is the book.
GRASS KINGS
A sheriff’s wife vanishes without a trace. With no leads in sight, he places his suspicion on a community of squatters settling in a nearby unclaimed piece of land called the Grass Kingdom, with whom also the sheriff is feuding. That particular piece of land has had its own fair share of troubles, dating back to the pre-colonial days when Native American tribes inhabited the land. In the not-so-distant past, a notorious serial killer may have once lived in the Kingdom too. As the mystery of the missing wife unravels, the Grass Kingdom is forced to look into its own past and come to terms with its secrets.
Grass Kings is a part murder mystery, part character drama, and part history lesson written by Matt Kindt, one of the most underrated creators in the business, and drawn by artist Tyler Jenkins. It’s an old-fashioned tale of betrayal and grief, told through Jenkins’ beautifully rustic watercolor drawings and Kindt’s reflective writing. Its characters are a diverse lot and the Grass Kingdom itself feels lived in. It’s a surprise this hasn’t been made into a show yet because it has the makings of a great small-town drama.
SPIDER-WOMAN
Jessica Drew can’t catch a break. After remaining in comic book obscurity from the late 80s onwards, the character eventually experienced a renaissance in the 2000s when Brian Michael Bendis made her one of the lead Avengers of that era. There was one catch though: the Jessica Drew of this New Avengers era was a Skrull and had been for quite some time. This Skrull impersonating Drew was, in fact, the Skrull queen Veranke and had orchestrated a decade-long secret invasion of Earth.
That brings us to the Spider-Woman solo series by Bendis and Alex Maleev, which tackles the aftermath of the Skrull invasion from the real Jessica Drew’s perspective. The miniseries is a spy thriller that has Jessica Drew dealing with the world’s worst hangover. What do you do when you wake up missing four years of life and find out that someone took over the world in your identity? You hunt the remaining people involved in it.
The comic isn’t remarkable by any means; it starts off great but eventually goes nowhere interesting. Part of me has a hunch that the upcoming Secret Invasion show will have a similar tone to this comic. You won’t miss out on anything if you don’t ever read this.
MISTER MIRACLE
Tom King furthered his penchant for turning superhero stories into existential domestic crises with the wonderfully manic Mister Miracle miniseries for DC in 2018. In essence a companion piece to his thematic Marvel counterpart Vision, Mister Miracle is a deeply complex examination of what it’s like to be a son of Darkseid and all the craziness that comes with being a New God.
The complexities of being a son of Darkseid are examined through the homelife of Mister Miracle, as he lives his day-to-day with his loving wife Big Barda. The story’s vantage jumps from their home to Mister Miracle’s professional life as an escape artist to their duties fighting a war against Apokolips for New Genesis.
As someone who has never read a comic featuring these characters before, what blows me away is how Tom King and collaborator Mitch Gerads managed to draw me in through the banality of it all. The comic isn’t afraid of exploring the silliness of Mister Miracle calling Big Barda to talk about babysitting in the middle of a war or debating whether the Female Furies would make good party guests the same way it is bold enough to examine heavy themes of suicide and trauma.
These characters have always been intimidating to my non-DC fan self so see them in this new light is refreshing.
BLACK ROAD
You can never go wrong with a good Viking story and Black Road is exactly just that. Somewhat of a spiritual spinoff from Vertigo’s pseudo-historic epic Northlanders, Black Road chronicles the road of vengeance a Pagan warrior named Magnus the Black takes after witnessing a helpless Catholic priest get killed by his kind. Throughout his journey, Magnus reflects on the harsh realities Scandinavia is faced as the Christians forcefully take over all that he has known.
The comic is absolutely brutal in all regards. It doesn’t mince words in its criticism of Christianity as much as it doesn’t hold back with gore. But even in the face of all that darkness, the book has some really empowering things to say about faith and life.
It looks as though Robert Kirkman is gearing up for another adaptation of his work. It was announced today that New Republic Pictures will be developing a film version of Kirkman and Lorenzo De Felici’s science-fiction comic Oblivion Song, with star Jake Gyllenhaal attached to produce and play the leading role. The book’s story focuses on a world where 300,000 citizens of Philadelphia disappeared in a devastating disaster known only as “Oblivion”.
Ten years after the tragic event, the government and most of the world have given up hope of recovering those lost. Enter protagonist Nathan Cole, who continues to make daily trips attempting to bring back whoever he can. Gyllenhaal’s fellow producer Riva Marker had the following to say regarding the project:
When faced with a cataclysmic event that permanently alters our lives, what would we choose to save? Just as Kirkman did with The Walking Dead and Invincible, in Oblivion Song he’s created the potential for a franchise that is profoundly entertaining, and the perfect opportunity to explore big questions we’re reckoning with globally.
Oblivion Song was previously in development at Universal before moving to New Republic Pictures. The project will also be produced by Kirkman himself, under his now-famous Skybound Entertainment banner. The comic’s creator also chimed in on the announcement:
We couldn’t be more excited to find such great partners in New Republic and Nine Stories. Both companies have a tremendous reputation for premium storytelling at the highest level, and we can’t wait to see Jake bring this character to life on the big screen. We are so fortunate to have assembled a team that is as passionate about this comic as we are.
Let The Right One In. Thirst. What We Do In The Shadows. The Castlevania series. Shadow of the Vampire. Legacy of Kain. Vampyr.
There’s really never been a shortage of amazing vampire media in the last 20 years. Yet by the 2010s, vampires had been run into the ground. Twilight, True Blood, and other vampire teen dramas had exhausted the idea of vampires in the mainstream and with it any semblance of cool. But in the world of comics, a truly great vampire story was gestating in the mind of writer Scott Snyder. Just as vampires were becoming passe, in came Snyder and artist Rafael Albuquerque with American Vampire, a neo-western horror saga spanning decades of lives and countless people.
At the center of this saga is Skinner Sweet, an outlaw from the Wild West who in a twist of fate ends up being the first in a line of American-bred vampires. Opposite Skinner Sweet is Pearl Jones, an aspiring actress in 1920’s Hollywood whose life forever changes after an unfortunate encounter with a vampire coven made of Hollywood’s most elite. Together, their intertwined fates put them at odds with the vampire race.
The modern anthology runs deep in American Vampire’s blood. Each arc deals with a different character’s perspective, often set in a totally different time period from the last, with lots of genre trappings. The first arc starts as your quintessential Hollywood fairy tale but then switches gears into a bloody horror movie. Some arcs go full Western when Snyder explores vampirism in the age of frontiersmen and cowboys. The book goes even bigger with two vampire WW2 stories: one set in the Pacific Theater of the war ala Band of Brothers and an Indiana Jones caper set in the Carpathian mountains of Nazi-occupied Europe. Hell, if you’re itching for something lower stakes (pun intended), there’s a coming-of-age story set in the 50s that taps into the delinquent cruising culture of the era.
That’s not even counting the standalone short stories written by the medium’s best writers and artists, including Stephen King, set in this world. Skinner and Pearl may serve as American Vampire’s linchpins but they aren’t the only stars in this joint as the comic explores the stories of other numerous characters in the saga, all the while connecting them in very meaningful ways.
And goodness does American Vampire boast an ensemble of characters that would give the most famous movie vampires a run for their money if this book is ever adapted for the live-action big leagues. You have Skinner Sweet, whose arc spans an entire century; he starts off robbing trains in the Wild West, becomes a soldier in WW2, a gangster running a brothel, a highway smuggler in the 60s, and by the end of the book, he’s an Evel Knievel death-defying stunt man in the 70s. Pearl Jones, who begins as a meek country girl seeking to make it big in Hollywood transforms into a battle-hardened crusader for her kind. Travis Kidd is a teenage vampire hunter in the 50s who poses as a womanizing delinquent in order to sniff out vampire families in the suburbs. His secret weapon is a pair of wooden fanged dentures he uses to bite vampires back.
Central to the story are the Vassals of the Morning Star, an organization dedicated to the eradication of vampires. Leading this organization are Linden Hobbes, a ruthless company man, and Felicia Book, a star agent with deep ties to Skinner Sweet. Calvin Poole is the resident genius and taxonomist, who himself gets caught in the hellish path carved out by Skinner Sweet. The Vassals also have an agent who moonlights as a traveling musician and relays information to other traveling Vassal agents via the color of the suit he wears on stage. This book is as nerdy as any Marvel or DC comic.
Scott Snyder and Rafael Albuquerque have created a world so immersive, lived-in, and intricate that they’ve even created their own elaborate vampire taxonomy. Usually, you think of vampires, you think of the most generic kind. In American Vampire, those are the Carpathians; standard, basic bitch vampires who have the most famous of weaknesses. This kind makes up most of the vampire status quo in America. Synder brilliantly establishes that a lot of Carpathians were included in the first settlers of the New World.
In addition to that, you have the Gaelic Prime; vampires that can transform into monstrous bat-creatures, the Canis Asiatic; this book’s version of werewolves, Iberian and Caspian breeds, mummified vampires from Ancient Egypt with corrosive fluids, mindless bloodsuckers in the Pacific, and of course, the Abominus Americana; the titular strain that sets the vampire world on fire. Unlike the usual vampires, the American vampire has a unique set of traits and weaknesses, which make them feared by most breeds. Snyder even goes as far as introducing ancient vampire gods within the lore of American Vampire.
With numerous characters, storylines, and minute details, it’s easy to get lost in a saga as complex as American Vampire but its emotional storytelling makes it a very welcoming read. Be it Pearl Jones’ decades-long romance with her mortal, everyman husband Hank Preston or Agent Cash McCogan’s desperate mission to rid his infant son’s disease at any cost, there’s always something human beneath the blood and fangs. Snyder and Albuquerque masterfully interweave all these elements together for most of the run.
American Vampire recently bid its final farewell with issue #10 of its 1976 run. That final run was frankly, disappointing. The finale was paced at a breakneck speed that disserviced a lot of the stories and character work that came before it. One of the best things about this book prior to the ending was how it took its time in exploring the world, showing perspectives of everyone, and letting us readers grow with them. The finale does none of that and plays out like those big Marvel/DC event miniseries where the 5 main issues make no sense if you don’t read the 100 tie-ins. Except here, there are no tie-ins that flesh out what’s happening in the main event. It’s all gracelessly shoved in together.
The finale goes big in a save-the-universe kind of way which takes away from a lot of the smaller personal conflicts that made most of American Vampire amazing. The scope feels ambitious but the ambition doesn’t pay off. It instead dilutes a lot of the magic of the comic. You’re invested in this book for the characters, their aspirations, their conflicts with one another, so when the story becomes about defeating the devil himself, it’s just not as exciting.
I can’t help but wonder what exactly happened to the story during its lengthy hiatus. The first run ceased production around 2013 and then resumed for a brief run that ran through 2015-2016. It was slated to resume the year after but never did. During that time, Vertigo was dissolved and was replaced by DC Black Label. Did the hiatus cause them to rethink how the story was getting told? Was Snyder just too busy working on his countless new projects that they decided to just rush through the ending? Were they only contracted to do 10 issues only?
Nonetheless, American Vampire will go down as one of the best reading experiences I’ve had as a comic reader. Even in the face of a rushed and unengaging finale, getting to know these characters was worth it. I was 22 and still in college when I first picked this book up. There are specific songs from that time period that was on heavy rotation when I was reading this book that I can never ever separate from certain panels. If I could discover the book’s emotional revelations and the surprising connections between each character for the first time, I would all over again.
Thanks, Scott and Rafael for creating my favorite kind of vampire.
It’s already been some months since we learned in an interview that Loki may potentially be the set-up towards a multiversal clash in the form of Secret Wars. While the name has never been outright stated, there was some evidence in the series with the mention of a “Multiversal War” early on in a section featuring Miss Minutes. It seemed likely Doctor Strange in the Multiverse of Madness would continue to build upon that foundation alongside the newly released What If animated series.
Well, it seems more evidence is popping up of its inclusion, as the creator of the comic storyline Jim Shooter revealed he was approached by Marvel Studios about adapting the storyline during 2021’s Megacon Orlando. In a question, if he saw the Marvel Cinematic Universe developing to adapt that storyline, he started telling a story about how Marvel was trying to secure the rights for everything involving his original Secret War run.
This one clown called me from Marvel. He wasn’t an editor but some executive of property management which was a little odd. He asked me if I wanted to write a novelization of Secret Wars.
He goes on to describe the received a gigantic document with a deal that wasn’t acceptable. Shooter would go on to turn it down and get a call from Jeff Bogart, who apologized for the dubious contract. The writer highlighted that the reason they sent such a large contract was simple, they don’t hold the rights to a plethora of characters:
They didn’t have a single piece of paper that said the Beyonder, Titania, Vulcano and other characters, new Spider-Woman for that matter, and the whole black costume thing, no piece of paper that said they own it.
He then asked if they are making a movie due to these contracts, as they are trying to make sure everything has been a “bulletproof chain of title,” as Shooter describes it. He also mentions that Hollywood was a bit looser in the past and recently focused more on securing any rights in advance to not get sued. It may explain why we’ve seen Spider-Man’s Black Suit in the third Sam Raimi film, but they only made sure to own it now. While the film might not be in development currently, Marvel Studios is famous for planning and might’ve already been trying to secure all the necessary rights. The highlight of Spider-Man’s black costume is also quite interesting.
If you are interested, you can check out the entire panel, where he also discusses the current state of comics and creators:
In 2019, Jonathan Hickman headed up Marvel’s X-Men relaunch. At the time, Hickman talked about the huge plans he had for Marvel’s mutants and so far, two years in, he’s proven a man of his word. Hickman’s HoX/PoX titles set the X-Men on a path towards not only dominance, but also destruction, the latter seemingly the premise of the upcoming Inferno limited series. Fans have been left wondering for a while now if Inferno would mark the end of Hickman’s time on the line or if it was just a jumping off point to the next chapter of the mutant story: turns out it’s a bit of both.
In an exclusive interview with EW, Hickman confirms that he will be stepping away from the X-line following Inferno but that plans for the line have evolved over the years and that the seeds planted in HoX and PoX are now going to be cultivated by other creators moving forward.
Oh, plans have changed entirely. When I pitched the X-Men story I wanted to do, I pitched a very big, very broad, three-act, three-event narrative, the first of which was House of X. And while this loosely worked as a three-year plan, I told Marvel upfront that I honestly had no idea how long the first part would last because there were a lot of interesting ideas that I had seeded that other creators would want to play with, and so, we left this rather open-ended. I was also pretty clear with all the writers that came into the office what the initial, three-act plan was so no one would be surprised when it was time for the line to pivot.
Hickman added that while HoX/PoX were originally thought of as the first of a three-act plan, it turned out to be something much larger than that: “paradigm shift in the entire X-Men line.” And so while Hickman had planned to move onto the second act, the rest of the team working on the other X-books convinced Hickman that they were having too much fun to move on.
So, during the pandemic, when the time came for me to start pointing things toward writing the second-act event, I asked everyone if they were ready for me to do that, and to a man, everyone wanted to stay in the first act. It was really interesting, because I appreciated that House of X resonated with them to the extent that they didn’t want it to end, but the reality was that I knew I would be leaving the line early.
Hickman has spent the last six months or so reshaping the plan and bringing in new creative teams to continue to move the first act forward, planning for the next “several years” of X-books.
So after Inferno, I’ll be leaving to go work on my ‘Next Big Marvel Thing’ and starting in January the X-Line will rocket forward starting with a weekly series that leads into the very cool, refocused, line of books. Yes, it’s taken us a little while to get everything assembled correctly, but the end result — everything that’s coming after Inferno — is going to be pretty great.
Inferno, it seems, will be Hickman’s mutant swan song for now and whether or not he comes back to the line once Marvel is ready to move on to act two remains to be seen. For the time being, Hickman will continue working not only on whatever his next big Marvel project is, but also his newly announced 3 Moons, 3 Worlds Substack projects. Hickman has set big things in motion for the mutants of Marvel Comics, however, and helped return them to the top of the charts for the publisher so while he might be moving on, it’s unlikely his given up on his plan entirely.
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