Archive for the ‘Upcoming Products’ Category
DC Comics celebrates the anniversary of The New 52 this September with Futures End, an apocalyptic peek into the DC Universe five years from now! In addition to the weekly Futures End series, DC is releasing 41 special Futures End #1 issues — each with 3-D Motion and Standard cover options!
If you remember DC’s Villains Month last year, you’ll recall that these issues sold out like lightning — and retailers were allocated. Therefore, we encourage you to visit our Futures End series page and pre-order the comics you want immediately!
The first round of 3-D cover images have been released: check out the gifs below!
Which covers are you most excited about? Post your comments below!
Image Expo 2014 produced dozens of exciting announcements featuring some of our favorite creators! Want to stay on top of these upcoming comics? Bookmark this page: we’ll be updating it with links to all of these series as soon as they’re available to order.
Here are all of the major announcements:
- 8House, a shared-universe fantasy series from Brandon Graham with Marian Churchland, Emma Rios, and more.
- Bitch Planet from Kelly Sue Deconnick and Valentine De Landro.
- Ed Brubaker and Sean Phillips have entered a five-year deal with Image and will wrap up Fatale, and start The Fade Out. Plus, Criminal and Incognito will move from Marvel Icon to Image.
- Great Beyond from Nick Spencer with Morgan Jeske, Paradigms from Spencer with Butch Guice, and Cerulean from Spencer with Frazer Irving.
- Howtoons, an education comic from Nick Dragotta, Fred Van Lente, Tom Fowler, and Jordie Bellaire.
- Invincible #111 takes a turn into horror and drama with Robert Kirkman.
- Kyle Higgins (Nightwing) debuts C.O.W.L. this May with Alec Siegel (The League) and artist Rod Reis.
- Low by Rick Remender and Greg Tocchini.
- Nailbiter from Joshua Williamson with Masks & Mobsters‘ Mike Henderson.
- Nameless with Chris Burnham and Grant Morrison.
- Ody-C from Matt Fraction, plus Casanova will move from Marvel Icon to Image.
- Restoration with Bill Willingham and Barry Kitson.
- Shutter with Joe Keatinge and Leila del Duca in April.
- Tech Jacket Digital with Joe Keatinge and Khary Randolph.
- The Saviors from James Robinson is now ongoing, plus his new series, Airboy, with Greg Hinkle.
- The Superannuated Man from Ted McKeever via the Shadowline imprint in June.
- The Wicked & The Divine with Kieron Gillen and Jamie McKelvie.
- Wytches from Scott Snyder and Jock.
Which series are you looking forward to? Post your comments below!
Marvel’s newest event, Inhumanity, kicks off this December before branching off into ongoing titles that will top your winter reading list! What if, one day, thousands of people awoke to find they had incredible new powers? They’re not mutants, but they do have to come to terms with their newfound Inhumanity!
The fallout of the previous Infinity event begins in Inhumanity #1 by Matt Fraction (Hawkeye) and Olivier Coipel (Thor)! The Avengers find themselves face to face with Karnak, who has discovered the secret of the Inhumans that will shake the Marvel Universe to its very core!
From there the storyline will expand into the rest of the Marvel Universe with titles like Inhuman, Iron Man, Avengers Assemble, Mighty Avengers, and Indestructible Hulk! Not only that, but there will also be several one-shots and miniseries featuring some of the coolest writers out there today, like Matt Kindt, creator of Mind MGMT, and Inhumanity Medusa #1 by artist Nick Bradshaw (Wolverine and the X-Men).
Featuring comics’ hottest writers and artists, Inhumanity is poised to further develop an amazing group of characters. With an Inhumans movie rumored to be in the works, this is the perfect time to get to know this fascinating group of superheroes. Pre-order Marvel’s Inhumanity comics now and save 20-35%!
Are you a fan of the Inhumans? What titles are you looking forward to? Post your comments below!
Decades after The Blight all but wiped out the human race, Mother Nature is taking back what’s hers, and she’s not alone . . . The Hinterkind have returned.
Who are The Hinterkind, and what will their return mean for the last remnants of humanity who struggle to survive in a world gone wild? We asked that question and several others of Edginton, who introduced us to the book as well as Prosper and Angus, two teenage friends who venture out of the safety of their village, unaware of the dangers they will face!
Check out our interview, below, as well as a five-page preview of The Hinterkind #1, courtesy of DC Entertainment!
TFAW: What was “The Blight”?
Ian Edginton: It’s the unspecified biological event that wipes out 98% (or thereabouts) of the human race in a matter of weeks. It’s unspecified because no one survives long enough for it to be studied and examined thoroughly. It’s uniquely infectious, there’s no defense against it. After it’s done its work, those who are left are more concerned with trying to survive in what’s left of the world than investigate what caused it.
If it sounds a but like handy-dandy plot device to neatly provide a convenient apocalypse, it is — but it’s also much more. I have to tread carefully here because I don’t want to give too much away, but as the story progresses, we’ll discover that The Blight is more than a nifty plot device, it’s fundamental to the whole return of The Hinterkind.
TFAW: Who are The Hinterkind?
IE: It’s a catch-all title that covers scores of different races, creeds, and cultures. There are Centaurs, Satyrs, Sprites, Elves, Dwarves, Ogres, Trolls, Vampires, Werewolves, and many, many more besides. They’re a myriad menagerie that mankind has used to hang its tales of myth and magic upon. In darker, less enlightened times, it was mankind’s way of rationalizing the irrational, but these aren’t fairytale creatures as we know them, they are beings and beasts of flesh, blood, and passion.
The Hinterkind are a divergent species. Exotic, evolutionary “try-outs” that couldn’t compete with the rapacious ape. Hunted to near extinction through fire, fear, and pogroms, they fled to the great forests and deserts, losing themselves in the shrinking wilderness of an ever-expanding world.
Part of my thinking behind the history of The Hinterkind is the theory that Neanderthals and Cro-Magnon man existed at the same time. That they interacted, inter-bred or (in the Neanderthals’ case) were wiped out by their evolutionary neighbors. Suppose then, we make a leap and say that the creatures we built our myth and legends around actually existed, too? Red in tooth and claw, hunted and hounded to the edges of the world. Now their fortunes have turned and the world is theirs for the taking.
The word hinterkind is derived from the word hinterland, which comes from the German meaning the “land behind” or the hind land.
It’s the wilderness or back-country. In the story it’s what the world’s become, green and overgrown. The Hinterkind themselves have lived in the wilderness, at the edges of the developed world for centuries, but now that the world is the wilderness, they’ve come back to claim what’s theirs.
TFAW: The cover to issue #1 is reminiscent of Fables, but the solicitation copy warns that “these aren’t childhood fairytale creatures.” How does The Hinterkind compare to Fables overall?
IE: It’s like apples and pears, they’re similar but different. The fundamental difference between the two is that The Hinterkind doesn’t have the fantasy element of Fables at all. The Hinterkind themselves look fantastical, but that’s about as far as it goes. The world has slipped back into a dark age, which was when they last walked abroad unmolested, so there is very much a tribal, feudal, medieval feel to everything. The Hinterkind are governed by what tribe, family, caste, or clan they’re born into. Life is perilous, short, and bloody, especially if you’re human. There’s a treacherous uncertainty to it all. Heroes will do terrible things to further their cause, villains will perform acts of kindness, and characters you grow to love will die in sudden, sometimes stupid and violent ways that you didn’t see coming.
TFAW: What can you tell us about Prosper and Angus?
IE: They’re friends in their late teens. They grew up together. Asa Monday, Prosper’s grandfather, is the village doctor. Her parents died when she was a baby and he’s raised her on his own, so they’re very close. Angus is the sister of Sophie Chung, who Asa’s training to be his replacement.
Prosper and Angus are like brother and sister. They love each other. They fight. She’s gets them into trouble that he has to get them out of. They’re children of the new world. We’re so media savvy and saturated these days, we can’t imagine what it would be like without cell phones or social networking, but this is their world. We walk down the street, heads lost in a little screen, often tuning in on world-wide events but ignoring the people around us.
For Angus and Prosper, they know everyone in their village. Their lives and welfare are inextricably linked to those of their neighbors. They’re connected to their friends and family in ways that we don’t seem to be anymore. Ways we might find intimate and intrusive. Plenty of us might remember our grandparents saying that they used to be able to leave their doors unlocked without fear of anyone breaking in? It’s that kind of place.
This also means they don’t have the prejudices and paranoia that life in our time brings with it. They’re not innocents, they know how dangerous their world can be, from getting cut and catching tetanus, to being eaten by bears or Ligons. They’re both wary of the wild and respect it, but they’re not afraid of it, until they learn about The Hinterkind, of course!
When Angus decides to leave the village (I can’t say why) Prosper doesn’t think twice about going with him, even if he doesn’t want her to at first. However, there also comes a time, that no matter how close you are to your friends, you have to walk a different path, and that time is fast approaching for Angus and Prosper.
TFAW: In The Hinterkind, nature has taken back the earth from humankind, and the preview pages show very striking images of New York City overgrown with trees. Was there something specific that inspired this?
IE: Absolutely. The way the world has changed post-Blight is an important part of the story. Without us being around to maintain our “civilized “world, Mother Nature will take back what’s hers with a vengeance. There was a National Geographic documentary, World Without People, that charted how quickly the major cities of the world would fall into decline and decay if people weren’t around to maintain them. Once nature and the elements gain a foothold, it doesn’t take long for things to start falling apart. I used that idea as a springboard for the way the world of The Hinterkind would look.
New York itself is massively overgrown. The survivors, those who stayed behind in the city, have established a village in Central Park. They’ve turned the meadow into farmland, built houses from what they’ve been able to salvage from the city around them, which as you might expect, is quite a bit. They’ve stayed in the city, on Manhattan Island, primarily because of that — it’s an island. During the dark days as The Blight gripped the world, there were bands of marauders and rogue military who would raid, plunder, and kill communities. Being on an island, especially as the tunnels flooded and bridges became overgrown, has afforded them a unique sense of security and isolation.
TFAW: What other changes have come about, thanks to The Blight?
IE: The Blight has meant the effective removal of mankind from their place as kings of the hill, which means the Hinterkind have moved in and the various clans are jockeying for that top spot. The favorite contenders are the Sidhe, what we would call Elves. Of all The Hinterkind, they’re the most powerful, organized, and politicized culture. With humanity gone, they have the mechanisms in place to quickly re-establish their empire, which they can develop and expand in ways undreamt of when humans were around. Then there are the Centaur clans in the Midwest, the Ogre-kin and so on. They’re all carving up America in their own way, but when the edges of their empires brush against each other, that’s when the trouble starts.
TFAW: How did Francesco Trifogli enter the project, and what’s the greatest advantage of having him?
IE: [Editor] Will Dennis got in touch to tell me he’d found this amazing artist. He sent me some samples of Francesco’s other work and I was blown away. I told Will, “Yep, he’s our guy,” and that was that. Job done. Francesco’s been great at taking all the ideas I’ve flung at him and coming up with this amazing art. You forget, we’re world-building on a huge scale. There’s not only the over-grown America to design, but all the people of The Hinterkind! That’s a massive undertaking, and Francesco’s admirably stepped up to the plate. I’m worried about working the poor guy so hard that he just keels over!
TFAW: What else are you excited about?
IE: I’m looking forward to the New York Comic Con next month. Sitting in my office at the top of the house writing the scripts is one thing, but to finally be let loose into the wild to talk about the book is going to be exhilarating and not a little scary. This kind of job has a habit of making you something of a borderline agoraphobic, so the thought of talking in front of a crowd is a tad unnerving.
I’ve also been working on the next series of Brass Sun with I.N.J. Culbard (New Deadwardians) and Stickleback with D’Israeli (Sandman) for 2000AD. I’m also working on a Judge Dredd run with Dave Taylor (Batman: Death by Design). I’ve not long finished writing a 200-page graphic novel adaptation of Children’s Laureate Malorie Blackman’s young adult novel Noughts & Crosses. I also have a television project in the works and that’s progressing nicely.
Are you looking forward to The Hinterkind? What do you think of our preview pages? Post your comments below!
Hey everyone! DC Comics has announced that every comic book shop nationwide will experience shortages on the special DC Villains Month 3D Motion Cover issues. Unfortunately, this means that TFAW may not receive all of the issues we ordered for our customers.
We’re hopeful that we’ll be able to fulfill most of our pre-orders, but wanted to make sure you’re aware of the potential for an issue with your order as soon as possible.
Here’s Our Plan:
- We’ll be filling pre-orders on a first-come, first-served basis.
- When we run out of special 3D Motion Cover issues, we’ll fill remaining orders with the Villains Month Standard Edition issues. These editions, which feature the same interiors, are considered first printings, but sport a standard cover.
- Those pre-orders that ship with the Standard Edition issues will receive the comic at a price of $2.39 ($2.99 cover price, less TFAW’s 20% pre-order discount).
We understand that this may be an inconvenience for some customers. We also understand that some customers may not want the 3D Motion Cover Editions.
If you wish to cancel your Villains Month pre-order or change your order to receive the Standard Edition Villains Month Issues, please email customer service and indicate your preference in the email.
Remember that the pre-order price for the Standard Edition Villains Month issues is just $2.39 each, rather than the $3.19 pre-order price for the 3D Motion Cover issues.
We sincerely apologize in advance for any troubles and inconvenience this may cause, and appreciate your understanding and continued business.
If you’ve been reading Dark Horse Presents, you’ve already seen bits and pieces of Colin Lorimer’s UXB–a wildly inventive post-apocalyptic sci-fi tale that will sink its teeth into you and won’t let you go.
In a shattered future London, three brothers grafted to powerful “lifesuits” squat in Buckingham Palace and load up on movies, video games, and porn. But when the city’s scavengers rise against them, the brothers discover their suits aren’t just for survival. Will they save the future . . . or bollocks it?
We had the chance to chat with UXB writer/artist Colin Lorimer, and we’re excited to share the fruits of that interview (including six preview pages from the book) with you now.
Colin Lorimer: You’re very welcome.
TFAW: First off, what does UXB stand for?
Lorimer: Well, during the blitz in WWII an unexploded bomb was referred to as a UXB. I thought it was a pretty apt title based on the world I was depicting. Are the boys actually ticking time bombs or perhaps it’s just a metaphor for their explosive angst ridden nature. You’ll have to read to find out…
TFAW: We’ve seen some glimpses of UXB here and there in the pages of Dark Horse Presents since early last year. The story is really interesting so far. Where does that material fit into the upcoming hardcover graphic novel?
Lorimer: As originally planned the three shorts are interspersed and fit quite seamlessly within the main story arc. All in all, they take up only 23 pages of a 133 page story so it’s mainly all new content. The final short left the reader with a major cliffhanger and you’ll finally see how all that plays out. Much violence, profanity and revelations are to be had…
The shorts were originally planned as a taster and to give a small inkling of the basic plot and the brothers’ predicament. Within the book, I have given time to develop–with the aid of prewar flashbacks–how their survival suits came to be, and how exactly the brothers ended up living in Buckingham palace as the most powerful beings in on the planet. It’s quite the mindfuck and will take the reader for quite a ride…
Lorimer: I do have a great love of the sci-fi/horror genre and when you read UXB that will become quite evident with the homages to other films and books that I have weaved into the story. Science-fiction allows you to play with and elaborate on the most outlandish of concepts and ideas and that’s something I always lean towards. With UXB I took the post-apocalypse rather overused story trope and tried to turn it on its head…it really isn’t your typical survival tale.
TFAW: In addition to the art in the book, you also picked up the pen to write it. What are some of the exciting things that this opens up for you creatively?
Lorimer: I enjoy the writing as much as the art, possibly even more so as it’s a little more immediate.
It’s certainly great to have the freedom to write your own scripts and it allowed me to indulge in putting to paper some pretty cool images. However, I was very conscious that it was a comic, a story, and not just a book of pretty illustrations, and in the end I think I found a good balance. If you liked the art on Harvest I think you’re going to really enjoy UXB, as I put an enormous amount of effort into it…and not just coloured it but did the lettering also. It was a real labor of love.
TFAW: Were there any unique challenges you experienced while writing the script?
Lorimer: I had to do quite a bit of research into nanotechnology and other scientific ideas to make their world and their survival life-suits somewhat believeable, but apart from that…it all flowed quite well. It’s a complete story and there was quite a lot of content and world-building to get through. However with the aid of the flashbacks, jumping from past to present and the constant build of tension through hints and revelations within each chapter, it really should keep the reader on the edge of their seat and make for quite the page turner. The ending should come as a big surprise. I guarantee it!
Lorimer: Yes, it’s an idea that has been floating around for quite some time and because of the day job it took me a while to actually find the time to work it up as a strip. Once I self-published, it started to gain some momentum and I just kept going.
They always say write what you know–and I really just wanted a vehicle to let me ramble on about movies and my disdain for what passes today as popular entertainment. So I created a world were the three main characters were the only ones who could still access and view various media such as video games, music, and movies, and it was their suits that afforded them this luxury. Sort of post-apocalyptic movie critics…
So it grew and developed out of that basic concept–however I soon realized I just couldn’t have them sit around watching movies all day and had to find them other things to do.The movie theme as it progressed became less important as I got into the meat of the story.
I also knew I wanted to do something that was a little different with their suits and purposefully went for a design that looked a little awkward, something almost ridiculous and completely opposed to the usual aesthetically ‘cool’ looking superhero costumes that we are so use to now. With the world being thrown back into the dark ages, why not give them a modern day equivalent of a medieval codpiece?
TFAW: How has it been working with the folks at Dark Horse Comics?
Lorimer: It’s been a great experience. I am very appreciative of the fact that Mike Richardson gave me the opportunity to publish UXB through his company. Dark Horse has an amazing history and talent pool so to be part of that is nothing short of fantastic. I have been dealing solely with editor Chris Warner and he has been a complete gent throughout the entire process. He was also the one that opened the doors for me and got the project noticed.
TFAW: How did you get your first major break in the comics industry?
Lorimer: I have been storytelling through various mediums over the years including animation, film and gaming, but comics has always been my first love. I guess it was 2010 in San Diego when it all came together. Chris Warner reviewed a sample comic of UXB that I had put together and really liked it and I also dropped some samples off with some other of the other major publishers who also showed a lot of interest, this also included Radical Publishing, who actually ended up being the first guys to offer me some work on their comic Earp, Saint for Sinners, as a layout/penciller. I started in around the end of issue one and finished up the mini-series. My work was completely painted over so I didn’t feel that I got to leave much of a mark on that one. It was an insane amount of work with a cast of thousands and quite challenging scripts, if anything, it showed that I could hit my deadlines. Thankfully my editor on that one was Renae Geerlings who was a pleasure to work with which made things a little easier…
TFAW: What other books are you reading right now?
Lorimer: On the comic front I just recently picked up Jupiter’s Legacy mainly to check out Quitely’s art. Vaughan and Staples’ Saga, and The True Lives of the Fabulous Killjoys. I’m also currently rereading the book Renegade: The Lives and Tales of Mark E. Smith and the Collected Ghost Stories of M.R. James.
Lorimer: A Clockwork Orange meets The Road as written by Clive Barker and directed by Wes Anderson. Weird, violent, darkly funny and at turns, horrific! Like a punch in the gut and a kick to the teeth…but you’ll still find yourself wanting to come back for more!
If interested your readers can catch me over at http://lubbert-das.blogspot.ca where I will be popping up work-in-progress art and other related UXB material leading up to its release.
We want to thank Colin Lorimer for taking the time out of his busy schedule for this illuminating interview. Pre-order your copy of UXB today and save 20% off the retail price!
What do you think of the UXB preview pages? What would you do if you had one of these “lifesuits?”
What would you do if you had the uncanny ability to access and use the skill sets, memories, and abilities of different people around you? Andy Diggle’s new series, Uncanny, shows us just what a man can do when he puts his mind to it.
The exciting new crime series follows a character named Weaver, as he plays a dangerous game of international intrigue where the rules keep changing, the players are hidden, and the first thing he stands to lose is his life.
We had the chance to talk with Diggle and series artist Aaron Campbell about Uncanny, which hits the shelves on June 26 from Dynamite Entertainment. Check it out below, as well as our four-page preview!
TFAW.com: Without tipping your cards too much, can you tell us a little bit about your newest series, Uncanny?
Andy Diggle: It’s a crime thriller with just a hint of the paranormal. Weaver is a professional con man, gambler and thief-for-hire who possesses a special ability. He can steal a victim’s knowledge, skills, and abilities for a short time — their ability to crack a safe, hack a computer, practice taekwondo, or whatever else he needs to complete his mission. But the clock is always ticking. He has to finish the job before his time runs out and he loses his stolen skill-set. Then he’s in trouble.
TFAW.com: Weaver sounds like a really unique and interesting character. How long has this idea been percolating? What was the final piece to fall in line so that you could tell this story?
Diggle: Nick Barrucci approached me last year with a view to being part of Dynamite’s fledgling Crime Line, and I jumped at the chance. It’s exactly the kind of project I’d been looking for. When I first started developing the story, Weaver had a different name, and was more of a small-time loser. Making him more of a self-confident con-man type, and opening up the scale of the story, was when it really started to come to life for me. I realized he’d been conning himself. He’s spent his whole life running away, and we join him at the point in his life where he finally finds something to run towards. Even if it is trying to kill him.
TFAW.com: You’re no stranger to the crime genre, having written books like Snapshot, Six Guns, Rat Catcher, and The Losers. How has this series challenged you creatively compared to previous projects?
Diggle: I guess the biggest challenge when working in a specific genre is not to fall into cliché. There are certain tropes and conventions that crime fans might expect, so you have to steer around those traps, or invert them. That’s one of the benefits of having this subtle supernatural angle to the book–you can use it to hook out the clichés and spin them off into new and unexpected directions.
TFAW.com: How many issues do you have planned at this point? Does this series have a distinct end?
Diggle: I have the first six issues all mapped out, and we’re all hoping so see it continue long term. The first story introduces us to Weaver and his abilities, and opens up a whole new world for him. We can spend as long as we want exploring that world.
TFAW.com: You’re working on several books at once. Can you tell us a bit about how you move between projects?
Diggle: It’s a bit of a juggling act. In addition to Uncanny, I’m currently writing Doctor Who for IDW and Thief of Thieves with Robert Kirkman at Skybound, plus developing some new projects which I can’t really talk about just yet — including a second crime title at Dynamite. The key to keeping it all running smoothly is to lock down the story outline well in advance. Once the publisher approves it, they can just let you get on with it, and you can hit a steady rhythm of writing an issue a week. It doesn’t leave a lot of time for rewrites, though, so you pretty much have to get it right first time.
TFAW.com: How did Aaron Campbell come to work on the series? How has he been as a collaborator?
Diggle: Aaron’s been doing great work on Dynamite’s The Shadow, so it made a lot of sense for him to jump onto Uncanny, which has a similarly noirish feel, albeit contemporary. He’s been a pleasure to work with. I always try to strike up a correspondence with the artists I’m working with — usually we’re on different continents — and Aaron’s been a gent. He sends me his thumbnail layouts before he goes to pencils, which helps me iron out any kinks in my scripting before they make it onto the page.
TFAW.com: Hi Aaron! How involved were you with the character design process for Uncanny?
Campbell: Save for one small caveat, the Weaver you’ll see in the book was all my design based on Andy’s written description of him. The covers had already been completed, which I had not seen yet. So when I designed the character I drew him with very dark hair, while on the covers he is depicted with lighter hair. So I lightened his hair. Not a particularly interesting story, is it?
TFAW.com: Ha! No it’s always interesting knowing those little details. Can you take us through your process? After you get the script, how do you get your head in the game?
Campbell: Well, assuming that my head ever has the opportunity to come out of the game, I would imagine that my process isn’t too different from anyone else whose style is based more on realism. I start with layouts, though typically I don’t do them all at once. I break the book in chunks based on the different locations in the script and focus on them one at a time. Once I get approval on that set of layouts, I’ll design the space and shoot my photo reference. I then do my pencils digitally, print them out blueline, and ink over the digital print. Something new I’m doing for this book, though, is working at a Golden Age scale. My original pages measure 14.25″ x 22″. I’m really liking it, too. I can get in there with big tools and really work the page over with much more of a fluid line.
TFAW.com: You’ve worked on a bunch of Dynamite books, from Dark Shadows and Sherlock Holmes to pulp books like Green Hornet and The Shadow. Has Uncanny posed any unique challenges compared to your other work?
Campbell: For the first time ever I’m working in the here and now. I get to hang up my trenchcoats and fedoras and put away my classic car models. And I no longer have to pore through research trying to reconstruct what some place might have looked like back in the 1930s. Not that I wouldn’t want to do more period work in the future, but it’s quite a relief actually to take a break from it.
TFAW.com: How’s it been working with the folks at Dynamite, Andy?
Diggle: Blissfully stress-free, I’m happy to say. They pay me well and on time, and they don’t mess around with the story. What more could a writer wish for?
TFAW.com: What’s your favorite part about working in the comic book industry, Aaron?
Campbell: There are so many great things about working in the comics industry that it’s hard to pick a favorite. For one thing, I get to do what I love to do. I get to work from home. I get to go to awesome cons and meet great fans and become friends with amazing creators. It’s really a dream career.
TFAW.com: When you picture the person reading Uncanny, what other books would you say they’re reading right now?
Diggle: Comics-wise, they’d probably be into Garth Ennis, Ed Brubaker, Jason Aaron, and Greg Rucka. That’s good company to be in.
TFAW.com: What are the favorite comics that you’re reading right now?
Diggle: I’m not reading a lot of monthly titles these days — I have a stack of trades still waiting to be read, and I haven’t even cracked open my Marvel Unlimited account yet. It’s mostly indy genre books that draw my interest – Fatale, Manhattan Projects, Saga. I was a big fan of Thief of Thieves even before I was invited to join the team, so that was a real thrill. I don’t read a lot of spandex these days, but Matt Fraction and David Aja’s Hawkeye is fantastic — and pretty much spandex-free, now that I think of it. It reads more like a smart, postmodern crime book than a superhero comic. Highly recommended.
Campbell: Right now I’m reading Fatale, Andy’s other book Snapshot, Hellboy, Hawkeye, and that’s about all I have time for. And I can go on for a very long time about all the artists that inspire me. But if I’m just talking about people who were working today, Sean Phillips, Jock, Tommy Lee Edwards, David Aja, and JH Williams are a definitely on the short list of artists I’ve been paying a lot of attention to lately.
TFAW.com: What else are you excited about/what other projects do you have coming up?
Diggle: The final issue of our creator-owned thriller Snapshot is out in May, which is incredibly exciting for me and Jock. The first three issues have done better than we ever hoped, and I can’t wait to see the trade. I’m also developing another Crime Line book at Dynamite over the next few weeks. It’s about sex, power, and crime, so that should be good, not-so-clean fun. I’m also developing an action thriller for another publisher, which I can’t talk about just yet. Plus I’m writing a new creator-owned miniseries this summer. So I’m crazy busy — and I wouldn’t have it any other way!
Campbell: I really don’t have much time to devote to any other projects right now, but there’s a possibility that you might be seeing more of me on Dynamite covers this year. I’m also very excited for the con season and will be attending HeroesCon this year for the first time. So if you’re in Charlotte in June, come by!
We want to thank Andy Diggle and Aaron Campbell for taking time out their busy schedules for this interview! Make sure to pre-order your copy of Uncanny #1 by April 30 to save 35% off the first issue as part of this month’s featured discounts!
What do you think about Uncanny? Going to add it to your pull list? We’re definitely on board. Please post your comments below.
It’s been over four years since 100 Bullets ended with a bang. That’s why we’re psyched that Brian Azzarello and Eduardo Risso are teaming up for another chapter of the award-winning series this summer. 100 Bullets Brother Lono is a brand-new eight-issue miniseries that follows one of our favorite characters to Mexico.
When last we saw Lono, Dizzy Cordova had shot him through the chest. . . but Lono always was too tough to die. Now, after the final events of 100 Bullets, Lono finds himself in Mexico working on the side of the angels. But there’s always more to a 100 Bullets story, so pick up this extra-size first issue to see what’s really going on with Brother Lono, the cold-blooded killer you hate to love!
Good news for those who already have series subscriptions set up for 100 Bullets–your issues of the Brother Lono miniseries will automatically be ordered and sent to you when they get here!
You’re going to love this series. June 19 can’t come quick enough!
Are you excited to see what happens to Lono? What other 100 Bullets characters would you like to see star in their own miniseries? Post your comments below.
It may only be April, but it’s not too early to make your plans for 2014! We’ve got a really great selection of 2014 Calendars up for pre-order right now.
Whether you’re a fan of Buffy, The Walking Dead, or anything in between, odds are that we’ve got the perfect calendar to adorn your wall next year. The great thing is that these calendars arrive in July and August, so you won’t have to remember to buy one later when you put your pre-order in now.
Better hurry though, some styles won’t be available after this month’s pre-order cutoff of 4/24!
A new epic begins with the debut of the new ongoing Batman Superman comic book series! Don’t miss the first fateful meeting of Batman and Superman in The New 52.
Helmed by Greg Pak (Incredible Hulk, X-Treme X-Men) and featuring the stunning art of Jae Lee (Dark Tower, Before Watchmen: Ozymandias), this is one series you won’t want to miss.
“We’ve been given the incredible opportunity to show these two icons meeting for the first time at this very early and raw stage in their careers,” Pak told USA Today. “Neither one of them has ever heard of the other guy.”
Pak went on to say that this is “a really exciting place to discover who these guys are, and the things we’re going to discover particularly in this first story arc will have ramifications later on down the line. We’re going to start in the past but it’ll reverberate through. It’ll be big and crazy and tons of fun.”
The series is also available as a Combo Pack edition that comes packaged with a digital download code for the issue.
This is a great option for people who want to store the physical copy of the book for collectible purposes and use the digital code to read the issue. Or, you could get the book for yourself and pass along the digital version to a friend! Sharing is caring, after all.
Are you excited to see the first meeting of Batman and Superman in the new Batman Superman series? How do you think that’ll play out? Post your comments below!