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In 'The Fade Out,' a murder mystery exposes old Hollywood's dark side

One of the more interesting things about Hollywood’s Golden Age is just how much of it was one elaborate, tightly controlled lie. Outside of a few brief years before the Motion Picture Production (or Hays) Code was adopted in 1930, the inner workings and backstage lives of the American film industry were just as much a scripted fiction as the pictures they produced. When big studios controlled everything from scripts to cinemas, movie stars were assets and scandal was a liability. A big part of show business was keeping the ugliness that kept it running away from the public eye.

The Fade Out (Image Comics), by the acclaimed team of Ed Brubaker and Sean Phillips, has its sights set squarely on the nasty business of show business in the Golden Age. Set in the fall of 1948, the story takes place in what Brubaker calls “one of the last American gold rushes”: Hollywood in the twilight of its boom years, where casual sexism and racism were par for the course and the American government could ruin your life if you were ever suspected of having beliefs that could be construed as remotely Communist.

The first issue starts with the sort of thing we see from celebrities all the time today, and the sort of thing that no one was allowed to know about at the time: a hell of a party. Screenwriter Charlie Parish wakes up after having blacked out in a bathtub, only to discover the body of rising starlet Valeria Sommers just outside the bathroom door. It’s her murder, and the cover up that ensues, that sets the events of the series into motion as the cast of characters are slowly introduced and their motives hinted at. READ FULL STORY

Breaking down 'The Multiversity,' the 'Inception' of event comics

Comic books, like movies, have a pervasive blockbuster culture. Much like studios flood multiplexes each summer (and increasingly, the entire year) with big-budget, effects-heavy popcorn flicks, the Big Two publishers—Marvel and DC—churn out “event comics.” These are seasonal miniseries that mash up the biggest characters in the craziest stories. Sometimes they make sense, sometimes they don’t—and whether they’re good or bad rarely matters. They sell.

But as easy as it is to wax cynical about both blockbuster movies and event comics, sometimes something comes along that’s worth all the hype. That promises spectacle and smarts and mind-bending twists. An Inception of sorts.

The Multiversity is the Inception of event comics. Kind of. It’s also much, much stranger.

Masterminded by writer and mad genius Grant Morrison, The Multiversity has been in the works since 2009, when Morrison first spoke of the project. Since then, the details have changed a bit—he intended for it to be released the following year, for example—but the goal has always been the same: a wildly ambitious story spanning the 52 worlds of the DC Comics multiverse, which this story effectively maps out for the first time.

A nine-issue miniseries, The Multiversity consists of two framing stories at the beginning and end, a guidebook, and six single-issue stories each focusing on a different universe. One of these comics, the seventh, will take place from the readers’ perspective, promising to make them the world’s first real superhero. Morrison also says, both in interviews and within the narrative, that that comic is haunted, cursed somehow.

This is not your average comic book—unless you want it to be. Taken out of context, The Multiversity functions very well as a propulsive blockbuster of a story, one about a group of heroes plucked from different realms who band together to fight a malignant force that threatens the entire multiverse. It’s like The Avengers, but with quantum physics. And since each subsequent issue sets up an entirely new universe, you could presumably read the whole series as a fun romp through wildly different takes on your favorite DC characters.

But then there are the strange parts. The pages and panels that don’t quite fit. That hint at something more.

Morrison is known for his metatextual take on superheroes. In iconic runs on characters like Batman, Superman, and the X-Men, Morrison has proven himself to be a master at taking decades of stories and compressing them into a single memetic idea that he then explores in five dimensions. In a medium where fans are obsessed about which stories “count” and contribute to an ongoing narrative, Morrison instead holds that they all do. So what if Carver Ellis, the black Superman of Earth 23, isn’t the “main” Superman—he’s just as fictional, and therefore just as real.

“One world’s reality is another’s fiction,” says anthropomorphic rabbit hero Captain Carrot (Earth-26) in The Multiversity’s first issue. Comic books, the characters discover, are the “messages in bottles from neighboring universes,” the glue holding the overarching narrative of The Multiversity together.

Of course, you the reader experience other worlds in much the same way, and Morrison isn’t one to let that opportunity pass him by. As the threat to the multiverse crosses into different worlds across different comic books, it will eventually attack this one—the real world in which you are reading this very article.

“The bad guys in Multiversity who are attacking the entire multiversal structure are also attacking the real world, and this comic [the seventh] is their only way through right now,” Morrison said in an interview with Comics Alliance. “So it becomes the reader versus the bad guy on the page. I think it’s actually quite scary, this thing. It scared me!”

That, in a nutshell, is what makes The Multiversity a one-of-a-kind comic book. It’s simultaneously a celebration of superheroes and the comic book medium, a meditation on the role of fiction in the real world, and an experiment in modern mythmaking. It could be a disaster. It could be fantastic. But it doesn’t start until you read it.

You’ll see.

Exclusive preview of 'The Strain: The Night Eternal' comic book adaptation

Guillermo del Toro’s vampire series has been infectious, to say the least. From the original novels with Chuck Hogan, to the comic adaptations from Dark Horse Comics, and now the current hit TV series on FX, The Strain is going viral.

The Night Eternal is the third volume in The Strain Trilogy, building toward the ultimate conclusion of the vampiric apocalypse that began in volumes one and two, The Strain and The Fall. Those two previous novels have been adapted into a comic book series by writer David Lapham (Stray Bullets) and del Toro’s handpicked artist for the series, Mike Huddleston. Combining the grit and humanist nature of Lapham’s writing with Huddleston’s amazing ability to capture the creepy in an abstract, yet thoroughly grounded manner has made for some quality, chill-inducing comics.

The first issue of The Strain: The Night Eternal is on sale this Wednesday, August 20. Check out the cover artwork and exclusive 10-page preview below:

It’s been two years since the Master’s plan succeeded and a near apocalypse coated the world in darkness. Now able to roam freely, the Master’s legion of vampires rule the world—a horrifying police state where humans are harvested for blood. As humanity despairs, Dr. Ephraim Goodweather and an unlikely team of heroes continue their fight against extinction and hope to unlock the secret to the Master’s demise.


Image Credit: Dark Horse Comics


Image Credit: Dark Horse Comics


Image Credit: Dark Horse Comics


Image Credit: Dark Horse Comics


Image Credit: Dark Horse Comics


Image Credit: Dark Horse Comics


Image Credit: Dark Horse Comics


Image Credit: Dark Horse Comics


Image Credit: Dark Horse Comics


Image Credit: Dark Horse Comics


Image Credit: Dark Horse Comics

Wonder Woman arrives in Gotham in DC's 'Sensation Comics'

On Wednesday, DC Comics will release Sensation Comics, a Wonder Woman anthology that exists outside the New52 Continuity, the next step in their Digital First comic book line. The series is made to be accessible to casual readers who may not be caught up on the continuity reboots and relaunches that DC Comics have put forth over the years; the story brings back the pre-New52 Oracle identity of Barbara Gordon (a.k.a. Batgirl), and it boasts ComiXology driven digital accessibility matched with the top-notch creative talent pairings. (And yes—paper purists will be pleased to know they do a great job on the print editions.)

The Amazon Princess’s adventures this time around are written by Gail Simone (Batgirl, Birds of Prey) and Amanda Deibert with art by Ethan van Sciver (Green Lantern, Flash: Rebirth) and Cat Staggs. Simone and van Sciver previously collaborated on “The Fury of Firestorm: The Nuclear Men.” Working in the digital format is still a new experience for both creators, though ultimately they want to convey the essence of Wonder Woman and what makes her stand out from Superman, Batman, and other heroes.

To amp up that contrast, the first story sees Wonder Woman swooping into Gotham to deal with Batman’s Rogues Gallery at Oracle’s behest, where her characteristic compassion will be tested. And with several super-villains and psychos on the loose, the fun comic book superheroine will likely make good use of her Greek-god arsenal, with weapons like the greatly under-appreciated boomerang tiara.

Below, see a preview and read an introduction (from the comic book’s solicit) of what happens when Paradise Island meets Arkham Asylum.


Image Credit: DC Entertainment


Diana Prince: Amazon warrior, ambassador to Man’s world, or champion of women in need? All of the above! This digital-first anthology series will bring some of comics’ greatest talents to Themyscira, and give them leave to explore Diana, her world – and ours!

Gail Simone and Ethan Van Sciver kick things off when Oracle calls for help after the entire Bat-Family gets sidelined. But when Wonder Woman steps into the breach, Gotham City’s criminals get the surprise of their lives! Then, Amanda Deibert and Cat Staggs take Diana to school, where she meets her biggest fan!


'Trillium' and 'The Bunker' are time-travel comics about the present

In some ways, pop culture is a form of passive time travel. Any given work is informed by the time in which it was made, and the act of creation is also an act of preservation—our books and shows and music are all bits of dilated time, worlds perfectly preserved for us to visit at will and think of all the ways in which we have changed.

As complex a subject as time travel can be, almost all time-travel stories start with a simple choice: forward or backward? Regardless of which is chosen, or how complex the means by which that decision is made, the result is often the same: We, the readers, learn what we will become or attempt to fix what we were.

Time-travel stories, then, never really make the most poignant statements about the past or the future, but the present.

Released simultaneously in the first week of August, Trillium by Jeff Lemire and The Bunker Vol. 1 by Joshua Hale Fialkov and Joe Infurnari are both graphic novels about time travel that succeed by focusing on something human and personal rather than getting caught up in the whys and wherefores of their sci-fi.


How 'Moon Knight' revamped a stagnant character into one of Marvel's best

Even in a world where Guardians of the Galaxy is playing in theaters, Moon Knight is an obscure character. Long seen as Marvel’s odd Batman analogue (Moon Knight’s alter ego, Mark Spector, has dissociative personality disorder), Moon Knight managed to star in his own book on and off throughout the ’80s before disappearing almost entirely in 1994. Marvel would attempt to revive the character in fits and starts in the late 2000s, with a couple of ongoing series and roles in team books like Secret Avengers.

But it wasn’t until 2014, 20 years after the end of the characters late ’80s-early ’90s heyday, that Moon Knight would finally be done right. The genius of Warren Ellis, Declan Shalvey, and Jordie Bellaire’s striking reinvention of Moon Knight, which began last March and concluded this week, is that none of that history matters—and yet all of it does. If you’ve been following the character since his first appearance in 1972’s Werewolf by Night #32, the new run is both informed by and subverts Marc Spector’s 40-plus-year history. There are subtle nods to his supporting cast and prior adventures while a completely new take on Spector’s psyche and mission finally give the character a role that finally feels distinct for who he is rather than who he is not—which, again, was Batman, but crazy.

This take on Moon Knight zeroes in on Marc Spector’s connection to the Egyptian moon god Khonshu, who resurrected Spector and drove him to be Moon Knight. Although Khonshu has been a part of the character’s origin since the very beginning, the new series has a center that previous incarnations have lacked. Instead of being Khonshu’s generic avatar of vengeance, Spector, as Moon Knight, is meant to bring vengeance to those who would harm travelers by night. He preys on predators.

Following in the tradition of other Marvel books like Hawkeye that exist unburdened by the need to tie into any current continuity, every issue of Moon Knight begins with this text: “Mercenary Marc Spector died in Egypt, under a statue of the ancient deity Khonshu. He returned to life in the shadow of the moon god, and wore his aspect to fight crime for his own redemption. He went completely insane, and disappeared. This is what happened next.” Interspersed throughout the first issue are a few spare details about Marc Spector and how he’s different: He’s no longer insane, at least not in the clinical sense. Instead, he’s host to the consciousness of moon god Khonshu, which manifests in four different aspects—the personalities his mind develops to cope.

With that little bit of mythology dealt with, writer Warren Ellis goes on to continually reinforce this new, distilled take on the character. Moon Knight is a protector of those who travel by night, a lone vigilante who dresses in white because he likes it when bad guys can see him coming. This clearer, simpler take on the character moves his madness—which in recent memory had been Moon Knight’s defining, violent, character trait—from text to subtext. He’s no longer crazy because he thinks he’s one of four different people (although he’s not the only one residing in his head), he’s crazy because he dresses in white and calmly walks towards monsters and criminals that can gun him down.

Not to mention that he now wears a snazzy three-piece suit with his mask and gloves and calls himself  ‘Mr. Knight’ when meeting with civilians who ask for his help, Sherlock Holmes-style.

The five issues that follow proceed to tell a series of self-contained stories that even unfamiliar readers could enjoy. A mysterious sniper, a gang of ghost punks, a dream that afflicts the patients of one particular doctor, an abandoned building full of thugs holding a little girl hostage—all served as premises in what would become an anthology series of sorts. Moon Knight, in one of his guises, would be the reader’s guide into the strange, dark recesses of Marvel’s New York City.

As satisfying as Ellis’ scripts are, the bold visual work from the art and color team of Declan Shalvey and Jordie Bellaire are just as integral to Moon Knight’s fascinating reinvention. In an inspired creative decision, colorist Jordie Bellaire chose to color Moon Knight white by not coloring him at all—the untouched linework cuts such a jarring, standout figure that serves as a great visual reflection of Ellis’ take on the character. As Moon Knight says in the fifth issue, he’s “the one you see coming.”

One of the joys of the new Moon Knight is watching artist Declan Shalvey stretch his boundaries more in every issue. With plenty of room left in the scripts for him to flex his storytelling muscles, Shalvey delivers seedy tenements, wall-to-wall action, weird supernatural phenomena, and trippy psychedelic dreamscapes with aplomb. Nothing about the first issue suggests that Moon Knight will be punching ghosts in the third, but it happens, and it’s thanks to Shalvey’s skill that it works so well. Together with the work of colorist Jordie Bellaire, Shalvey depicts a New York City that both feels authentic and yet somehow off. It’s unmistakably New York, but it’s also a cemetery, full of terrible things that are never shown but feel like they’re there, just waiting for you to walk through it’s streets alone and unguarded. It’s the kind of place that needs Moon Knight.

It’s kind of devious, the way Shalvey’s range is slowly shown off throughout the run as stranger elements are slowly introduced until they just explode off the page in the book’s fourth issue, which saw Moon Knight go from urban action with a touch of the supernatural to full-blown acid trip. Shalvey also understands how to craft compelling action sequences that are both clear and spare, conveying a lot of information to the reader without wasting an inch of the page.

The sixth issue of Moon Knight, out this week, marks the end of this creative team’s tenure on the book. It’s a fine sendoff—a story about a disgruntled cop from the first issue who feels marginalized by Moon Knight’s presence and decides to assume the identity of one of his greatest foes. Everything that made the first five issues great is present, and then some. The Ellis/Shalvey/Bellaire finale is another great standalone story, but it also places the previous five stories in a greater context, one that clearly states what was only hinted at if you were paying attention: Marc Spector is utterly, completely alone.

It’s right there in every page: When he’s not in his abandoned old mansion by himself, he’s operating out of a remote controlled limo, not interacting with a soul outside of the ones he agrees to help and the ones that he goes after. It’s easy to note the character’s solitude and not comment on it, as a supporting cast isn’t a huge concern when a collection consists of a bunch of one-and-done stories. But when directly addressed on the page as a finale of sorts, it’s a sobering moment, one that sums up the emotional cost of Spector’s return to the mantle of Moon Knight, to some semblance of sanity and purpose.

With next month’s issue #7, writer Brian Wood (DMZ) and artist Greg Smallwood (Dream Thief) will take the places of Ellis and Shalvey, with Bellaire staying on colors. Both are talented creators who have expressed the desire to continue what Ellis and Shalvey started. Let’s hope they do that and then some.

While their run was brief, the Ellis/Shalvey/Bellaire Moon Knight gave one of Marvel’s also-rans a potential road map back to glory by giving the character a clear sense of purpose. It showed how much could be done with a single issue several times over, and finally gave Moon Knight a mission that could be summed up in a single line: a protector of those who travel by night. “That,” as Spector says in the fourth issue, “is my specialist subject.”

The comics of Comic-Con, part 3: Much more than superheroes

With all of the TV and movie news coming out of Comic-Con, it’s easy to miss the flurry of comic book news that started it all. Be sure to read part one, which covered preview night and day one of the convention. Part two covers the various Marvel announcements made over the weekend. The third and final part is a recap of the convention’s (mostly) non-superhero news.

A disclaimer: Comic-Con is more than a hype parade. While a lot of new things are announced at comics conventions, panels aren’t just trailers for upcoming books. Creators answer questions, discussions are held, and fans are engaged. So note that if a publisher doesn’t seem to have much going on in a news roundup like this (for example, DC didn’t announce a single new book), it doesn’t necessarily mean they didn’t have a big presence. Also, many publishers present (like Dynamite Entertainment) chose to announce their upcoming titles before the convention.

For a feel of what SDCC is all about from a comics point of view, read this excellent piece by David Brothers.

On to the news:

Riding high after launching a number of new Doctor Who comics at the start of the year, UK-based Titan Comics announced a number of new creator-owned titles at this year’s convention. Scheduled to debut in 2015, the books vary in tone and genre, from sci-fi adventure Thunder Hunter by Mark A. Nelson, to environmental horror book Surface Tension by Jay Gunn.

Drawn & Quarterly had a number of titles to talk about this year. From a special 25th-anniversary retrospective to new books like Shigeru Mizuki’s Hitler, the publisher’s track record of putting out interesting new alternative comics and collecting lesser-known but still vital work remains consistent.

The sole new book announced by Fantagraphics Books is a print version of Liz Suburbia’s webcomic Sacred Heart (which you can still read for free in its original format). It’s a story about teens trying to keep their small town together after all the adults disappear. An interesting wrinkle: Comics Beat reports that Suburbia will be entirely redrawing the graphic novel for the print edition.

While Dark Horse announced most of their comics in the 12 days leading up to the convention (like Fight Club 2), the publisher released a master list of all their new titles the day SDCC began. Check it out here.

The folks at Boom! sure like to tease. Just before the convention, the publisher stoked curiosity with a teaser image that turned heads: Grant Morrison was starting a project with the publisher. Bleeding Cool’s coverage of SDCC’s Boom! panel reports more of the same going down—a number of acclaimed creators teasing new books at the publisher without saying much about what they’d be. Among the creators doing the teasing were Mark Waid, Paul Jenkins, JG Jones, and Roger Langridge.

From G.I. Joe to Samurai Jack, IDW has established itself as a place where licensed characters from movies and TV get a lot of love. As such, some of the new titles announced out of SDCC are downright crazy, with the weirdest team-ups you’ve ever heard of. Angry Birds/Transformers, Teenage Mutant Ninja Turtles/Ghostbusters, and Star Trek/Planet of the Apes crossovers are all real things that are happening. And they’re also putting out an Orphan Black comic. Check out the full list of announcements here.

The comics of Comic-Con, Day 1: Image Expo, Marvel's AXIS, and Vertigo

Sure, all the screenings, TV panels, and movie announcements are great, but isn’t Comic-Con about comics? What’s going on with them?

Lots. Throughout the convention, every major publisher in the comics biz will have at least one panel announcing exciting new books and bold new directions, and teasing what may be coming in the near future. Who knows—the basis of your next favorite TV series could be here. Want a quick recap? Here’s what happened on Day 1:


Image Comics got off to an early start, holding their own Image Expo event Wednesday night, the day before the official start of San Diego Comic-Con. After a keynote speech by Publisher Eric Stephenson, the news came hard and fast. Twelve new series were announced as their respective creators were brought on stage to introduce them. The new titles announced:

• Valhalla Mad, by Joe Casey and Paul Maybury, about Norse Gods partying in Manhattan. Begins spring 2015.

• Tooth and Claw by Kurt Busiek, Ben Dewey, and Jordie Bellaire. Described as “Conan meets Game of Thrones meets Kamandi,” the high-fantasy epic begins November 2014.

• Tokyo Ghost by Rick Remender, Sean Murphy, and Matt Hollingsworth. In 2189, the world is a wasteland, and entertainment is the drug that everyone needs—and the mob has. Coming summer 2015.

• The Humans by Keenan Marshall Kellar, Tom Neely, and Kristina Collantes. An ape biker gang, ’70s exploitation-style. No typos there. Starts November 2014.

• Southern Cross by Becky Cloonan and Andy Belanger. On a space tanker to Titan, a woman is haunted by ominous threats. Coming winter 2014.

• Rumble by John Arcudi and James Harren. Described as “like a scarecrow-Conan fighting in a Louis C.K. show directed by David Fincher,” the creators promise a genre bender with heaps of strange. Begins this December.

• Invisible Republic by Gabriel Hardman and Corrina Bechko. A sci-fi action-adventure about the rise of an empire, coming in 2015. Also announced: Hardman’s digital-only series KINSKI will be coming to print in November.

• Intersect by Ray Fawkes. A horror story about a city gone mad. Launching in November.

• Injection by Warren Ellis, Declan Shalvey, and Jordie Bellaire. A science fiction series about “the dark future we’ve built for ourselves.” Begins in 2015.

• From Under Mountains  by Marion Churchland, Claire Gibson, and Sloane Leong. A magical fantasy in which rival houses struggle for power in the isolated country of Akhara. Begins in 2015.

• Drifter by Ivan Brandon and Nic Klien. A space transport crashes on a lawless frontier world. Begins this November.

• Descender by Jeff Lemire and Dustin Nguyen. A robot boy struggles to stay alive as the universe hunts him down. Read EW’s first look here. Launches March 2015.

Marvel: AXIS and more

Marvel’s first comic-centric panel was all about October’s big AXIS story, which spins out of the story unfolding in Rick Remender’s Uncanny Avengers. In Uncanny, the Red Skull has obtained the nigh-unlimited telepathic powers of the late Charles Xavier—and in AXIS, he’s finally mastered them to become The Red Onslaught.

Like any big event comic, the story will have a number of tie-in books, notably featuring Spider-Man villians Hobgoblin and Carnage. Hinted at but not discussed: what the events in AXIS have to do with Iron Man’s new look.

Also announced was All-New Captain America: Fear Him, a six-part digital comic beginning in October which features Sam Wilson, the new Captain America. Written by Dennis Hopeless and illustrated by Szymon Kudranski, the miniseries will have Wilson deciding what sort of Captain America he wants to be while battling The Scarecrow (The Marvel Scarecrow. They have one, too).

Finally, coinciding with the premiere of the next Avengers film will be the new Original Graphic Novel Avengers: Rage of Ultron. Although the title is only one letter removed from the blockbuster film’s title, Rage of Ultron is a standalone story completely unrelated to the plot of the film. The story will focus on redefining the relationship between Ultron and creator Hank Pym for readers new and old (in the film, Ultron is created by Iron Man Tony Stark). The book goes on sale in April 2015.

For a detailed recap of the panel, check out Comics Beat.


No new announcements were made at Vertigo’s panel Thursday night, but creators were on hand to discuss the future of a few of the publisher’s popular titles. Readers can expect Scott Snyder’s American Vampire to feature space chimp vampires (really), along with Bill Willingham and Mark Buckingham’s soon-to-be concluded Fables ending with “body bags.”

Also discussed were previously announced upcoming titles Suiciders, The Names, Bodies, and The Kitchen.

For more details, head on over to The Los Angeles Times.

Comic-book icon Archie Andrews will die saving gay friend

In April, Archie Comics publisher and co-CEO Jon Goldwater told CNN that Archie Andrews would die in issue #36 of “Life with Archie,” a comic-book series set in an alternate universe that presented possible futures for the characters of the classic Archie Comics series. Issue #36 will arrive on stands on Wednesday—and while we don’t know yet who kills Archie, we do now know how he dies.

Today, Goldwater revealed to the Associated Press that Archie would die trying to stop an assassination attempt on Archie Comics’ first openly gay character, Kevin Keller, a military veteran and newly elected senator who’s in favor of increased gun control.

“We wanted to do something that was impactful that would really resonate with the world and bring home just how important Archie is to everyone,” Goldwater told the AP. “That’s how we came up with the storyline of saving Kevin. He could have saved Betty. He could have saved Veronica. We get that, but metaphorically, by saving Kevin, a new Riverdale is born.”

Issue #36 is the penultimate issue of “Life with Archie.” The following issue, #37, will jump ahead one year to depict how Betty, Veronica and the rest of the Riverdale gang are handling Archie’s death and honoring his legacy. Goldwater said that the way in which Archie dies is meant to “epitomize not only the best of Riverdale but the best of all of us,” and that he hopes that it works as “a lesson about gun violence and a declaration of diversity in the new age of Archie Comics.”

Read an excerpt from 'WYTCHES,' a new series by 'Batman' writer Scott Snyder

This October, Scott Snyder—the New York Times bestselling author of American Vampire—returns to Image Comics to reinvent another classic horror figure: witches.

After an acclaimed run on several DC Comics titles, including Batman, Detective Comics, Superman Unchained, Swamp Thing, and Vertigo titles American Vampire and The Wake, Snyder wanted to shake things up a bit. So he brought his new supernatural comic, WYTCHES, to Image Comics, where he had published the creator-owned Severed a few years prior. After working with artist Jock (The Losers, Green Arrow: Year One) on the Batman story “The Black Mirror,” Snyder knew he had the perfect collaborator for this new horror series. The artist’s distinct style—a mix of solid storytelling and terrifyingly scratchy visuals—will no doubt scare readers silly. READ FULL STORY

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