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Tag: Image Comics (1-10 of 15)

Mark Millar on 'Jupiter's Circle': 'The heroic side of superheroes has been missing'

Last spring, award-winning writer Mark Millar teamed up with acclaimed artist Frank Quitely to launch Jupiter’s Legacy, a story about “what it would be like to grow up as Superman and Wonder Woman’s kids.” It’s high-concept premise from a writer who absolutely loves churning them out—something that has transitioned to great Hollywood success, as his comics are frequently adapted into big-budget films like Kick-Ass and Kingsmen: The Secret Service.  Now, as Jupiter’s Legacy approaches the end of its first story arc, Millar has announced Jupiter’s Circle, a 10-issue companion series with art from Wilfredo Torres set to release in between Legacy’s first and second halves.

Described as “Mad Men meets SuperFriends,” Jupiter’s Circle is designed to be a quieter series than Jupiter’s Legacy. According to Millar, Circle focuses on what happens between the panels of classic Silver Age heroics—the doubts and fears of the stoic, square-jawed heroes, their personal lives, and the ways they are just as frail and full of doubt as their children will turn out to be.

EW reached out to Millar for an in-depth look at the upcoming series, coming in April from Image Comics with art from Wilfredo Torres.


Image Comics' new subscription plan and why comic book retail is so weird

Image Comics has a bold new plan—one that’s actually a very old plan. On Thursday, the publisher announced Image Direct, a new subscription service that will send monthly shipments of its titles directly to customers at the end of every month.

To the average consumer, the idea that a comic book publisher would offer annual subscriptions of its books to send to customers seems quite obvious—don’t they already do that? After all, they’re periodicals that ship on a mostly monthly schedule; it makes sense that they would come in the mail like magazines. However, the truth is they don’t. Not really. Not anymore.


Image Expo 2015: Darwyn Cooke talks 'Revengeance,' his first creator-owned comic

Darwyn Cooke has illustrated superheroes like Batman and the Justice League for both comic books and animation. Some of the best work he’s produced gravitates towards crime—just look at his classic run on Catwoman with Ed Brubaker, or his graphic novel adaptations of Donald Westlake’s Parker novels. But as acclaimed his work has been, the award-winning writer and artist has never done a fully creator-owned comic book, preferring either superheroes or adaptations.

Enter Revengeance, Cooke’s first-ever original story.


Lo-fi science fiction and psychological horror collide aboard 'Southern Cross' -- exclusive

A spaceship is a terribly good place to set horror stories of all stripes. There’s the objective terror of it all—there’s just so much that could go wrong—but there’s also a subtler, more disconcerting horror that can find you deep in space, with nothing but cold metal between you and the starry abyss.

It’s that latter sort of horror that Becky Cloonan (The True Lives of the Fabulous Killjoys, The Mire) and Andy Belanger (Kill Shakespeare) are hoping to give readers in Southern Cross, their forthcoming series from Image Comics. Set aboard the titular Southern Cross, a tanker bound for Saturn’s moon Titan, the story concerns Alex Braith, a former convict on her way to claim her sister’s remains—and hopefully, find out what happened to her.


'The things you don't want to admit you feel': Scott Snyder previews 'Wytches' #3-exclusive

Over the past five years, Scott Snyder has quickly become one of the most popular writers in mainstream comics—largely due to his stellar, chart-topping run on Batman. But in his creator-owned work, Snyder has displayed a knack for gripping horror stories that double as explorations of very real and relatable anxieties and concerns. It’s horror steeped in humanity.

In Wytches, the Image Comics series Snyder co-created with the superstar art team of Jock and Matt Hollingsworth, the writer isn’t just completely reinventing witches—through the story of the Rook family’s dealings with the titular monsters, he’s diving deep into very real fears about being a parent, and the ugliness that hides in all of us.

In a characteristically honest fashion, Snyder sat down with EW to chat about where Wytches is going, what scares him as a parent, and the things that make normal people become the stuff horror is made of. Come for the interview; stick around for the sneak peek at this week’s Wytches #3.


A look inside the world of 'Bitch Planet' with Kelly Sue Deconnick

Eisner Award nominee Kelly Sue DeConnick knows a thing or two about making your work stand out. The author of acclaimed titles such as Captain Marvel, Pretty Deadly, and Avengers Assemble, DeConnick has a knack for creating stories and characters that resonate with readers. (Look no further than the Carol Corps, a passionate group of fans that sprung out of DeConnick’s re-invigoration of Marvel’s Carol Danvers.) Her latest project—Bitch Planet, out next week from Image Comics—is no exception.


'ODY-C' writer Matt Fraction talks about creating a comic epic

Think of Homer’s classic tale, The Odyssey. Now think of The Odyssey, but re-imagined as a gender-bent sci-fi space adventure—and in comic form. Sound intriguing? That’s the premise of Image Comics’ Ody-C, from writer Matt Fraction and artist Christian Ward.

As the Eisner Award winning genius behind acclaimed titles such as Sex Criminals, Hawkeye and The Invincible Iron Man, Fraction is no stranger to crafting narratives that are as smart as the are compelling. But gender-bending one of the most complicated classics ever written? Well, that’s an entirely new challenge altogether.

In advance of the comic’s debut next week, EW spoke with Fraction about bringing ODY-C to life, a little book called Sex Criminals, and that darn half-marathon he just ran.


First look: Grant Morrison and Chris Burnham's human-hating horror comic 'Nameless'

Announced at the beginning of this year, Nameless is a forthcoming six-issue miniseries by Grant Morrison and Chris Burnham. Described by Morrison as his first full-on horror comic, both he and Burnham have been working very hard to find some of the most terrifying, depraved ideas ever dreamed up for the hero, Nameless, to face. Below, courtesy of Image Comics, EW has an exclusive first look at preview pages from Nameless #1.


NASA meets time travel in Mark Millar and Sean Murphy's 'Chrononauts'

What if we explored time the way we did space—with expeditions manned by our best and brightest as the whole world watches on live television? That’s the premise behind Chrononauts, a new Image Comics series by Mark Millar (Kick-Ass, The Secret Service) and Sean Murphy (Punk Rock Jesus, The Wake). 


'Zero' review: Being a spy will really mess you up

Zero is a comic book with a conceit that starts out simply: Should spies akin to James Bond exist in the real world, they would be irreparably damaged people. So what if one of these broken, efficient killing machines discovered that he was being used by the wrong side? What would that look like?

Written by Ales Kot and illustrated by a different artists every issue, Zero tells the story of Edward Zero, the best operative in a mysterious Agency, in the middle of a crisis of conscience. Trained from the age of 10 to be a killer, put on drugs to suppress his emotions, and placed on the front lines of a secret war that will radically change the entire world, Zero’s story unfolds bit by bit over a 20-year span beginning in 2018 and ending in 2038. With a nonlinear structure, the reader knows from the beginning that Zero defects—the framing narrative places an old, weary Zero in front of a gun held by a child sent by The Agency, with the same drugs and training Zero had burning through his system. Each issue tells a story involving Zero or one of his associates set in that time period and beyond. Each chapter offers a peek into the messy, broken, and violent headspace of its characters and asks you to sort it out. It’s a fascinating, disconcerting work.

The experience of reading Zero isn’t always a smooth ride. There’s an intricate density to the storytelling—Kot often manages to pull off the difficult trick of constructing each issue with a satisfying, self-contained story that’s complemented with cryptic clues about the near-future world it’s set in and devastating revelations that affect the ongoing plot. And while there’s a lot of thought put into every script, the pacing is highly irregular, and the nonlinear story can make for jarring transitions. But Zero does everything else so well—from art to design to dialogue and beyond—that a sometimes hard-to-follow plot is more of a feature than a bug. The experience of reading a comic book is rarely a prolonged one, and as such having reasons to reread, to pore over slowly and contemplate the ways a particular artist suits a particular story, are all good things.

With Zero on hiatus until October 29, now is the perfect time to pick up the first two volumes, An Emergency and At the Heart of It All, which collect the first 10 issues of the series. Designed by Tom Muller (who is also responsible for the striking look on the single issues), the trade dress for both volumes feature one of the most striking designs for a standard trade paperback in recent memory. The upper portion of the cover is devoted to abstract imagery that reflects the themes of the book—An Emergency is a messy collage designed to look like it was ripped off pages from the comics within, just like its protagonist is broken down and stitched together again into something bleak and impenetrable. Similarly, the second volume takes key art from the next batch of issues and distorts them, much like a signal that isn’t quite clear. It’s a strong setup for what’s to come, even if that isn’t entirely obvious. On both volumes, the lower third of the cover starkly lays out all the relevant information: series, title, price, and credits. It’s an eye-catching look that begs to be talked about and read.

One caveat: Zero is, in a word, violent. There is a graphic brutality on display that some readers will find uncomfortable. While that’s the point, it doesn’t make it any easier to read. In interviews, Kot describes Zero alternately as “what if James Bond was real” and an exploration of “bleak male rage,” expressing the importance of following up depictions of violence with equally considered looks at its lasting, devastating effects. With the help of the many other talented artists whom he has collaborated with, Kot has done exactly that: tearing down the psyches of characters we often encounter in action movies, and inviting us to wander through the rubble.

It’s a disturbing place.

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