Death. Destruction. Time travel. A rip in the space-time continuum. You can find it all in the gorgeous Age of Ultron Deluxe Hardcover edition from our friends at Marvel. Read on as to why this massive tome is ideal for the comic fan in your life this holiday season.
Have you been reading the regular Infinity reviews over the last few months by Biff Bam Pop’s own Glenn Walker? You know, Infinity. Infinity? The B-I-G Marvel Comics event that just wrapped up last week with the final issue in the “mini-series”? (I use quotes because beyond the sic=x main Infinity books, there were tie-in books that brought the total chapter count to well over twenty.) Jeez, where have you been? Well, get caught up on the latest (and last) Infinity review by our pal Glenn, right here.
Now, I loved Infinity. To me, it ranks up there as one of the greatest event comics I’ve ever read. For those asking, DC’s 1985 series, Crisis On Infinite Earths is still the greatest of the great but Infinity ranks a solid second.
Still, Infinity ended the same way all of these recent “event” series seem to end: with a continuation into yet another “event” series! Oh, the Inhumanity!
Old school. Well, old school for some. Older school for others. For still others, it might be “Hey, cool sci-fi genre comix, man!”
Let’s take a quick trip down memory lane, shall we? It’s, like, 1984 or maybe 1985 and my grade five school buddy hands me an issue of Jim Starlin’s Dreadstar, published by Epic Comics. I can’t make heads or tails of the story. It’s issue number “mid-teen” and there are crazy space-faring characters with names like “Vanth” wielding blasters and powerful swords, mixing it up with sorcerers names Syzygy, all under the oppression of a galactic religion called The Church of the Instrumentality.
It was absolute insanity – and it was captivating. I didn’t know it then, but here was an early instance of long-form graphic novel storytelling that would set the stage for the future of the comic book art form.
That merging of genres: science fiction and fantasy, religion and politics, is back today. Old school wonder is new school excitement with the release of Black Science #1.
Today, this column is going to be something of an editorial. Don’t worry. I won’t be too overbearing in my rambling. I’ll still speak to a “must read” comic of the week, something you need to make a “Wednesday Run” for.
There are times that I wish I was reading coming books during the age when I first started reading them: the no-internet age. During that naïve time, I’d visit my local comic book shop, pick up my favourite books off the wooden rack of new issues, and happily bring them home, unaware of the politics, business decision-making, miscommunication and broken promises behind the art form I so happily read.
In this Internet age, we learn about the behind-the-curtain relationships of comic book creators: writers, artists, editors and publishers, all too easily. There are websites dedicated to that kind of gossip. Once in a while, those relationships turn sour, affecting everyone involved, including us, as readers. Batwoman #25, out today, is, unfortunately, the product of one of those relationships gone sour.
Come, take a walk down the trail of pontification.
Earlier this year, when the first trailer to Thor: The Dark World was released, I found myself surprisingly excited. Here was what looked to be a bit of a throw back film; a bit of a Marvel Studios homage to the those great swashbuckling sword and sorcery movies of the early 1980’s: Conan, The Sword and the Sorcerer, The Beastmaster and Krull. Those were movies that I loved as a kid – and love even more now.
With Thor: The Dark World, it seemed liked the eightification of comic book films was upon us. And in this particular case, I was ok with that. There was no better decade for this kind of genre than the decade that spawned all of those cool movies of my youth, happily spent at the video rental store.
Thor: The Dark World, was more than that, though. It was a movie that combined muscular heroes and dreaded villains with big-budget sets and fantastic special effects with well-known actors, working inside a shared fictional universe, playing well with at least three other important film franchises. A truly twenty-first century aesthetic.
It’s Saturday. Let me tell you more about the movie, Thor: The Dark World after the jump.
A phoenix from the ashes. That’s what we’re talking about when we talk about publisher Valiant Entertainment.
Founded in the late 1980’s as Valiant Comics by Marvel Comics legends, Jim Shooter and Bob Layton, sold to video game maker Acclaim in the mid 1990’s and shuttered in the mid 2000’s, Valiant Entertainment (as it’s now called) was resurrected in 2005 but really rose to prominence in the comic book scene only last year.
But it’s today that the publishing company of superhero comics comes into its’ own. Today sees the release of Valliant’s first superhero team-up book with Unity #1 – history in the making!
Last month saw the release of Batman: The Dark Knight Returns Deluxe Edition, a two and a half hour movie adaptation of the seminal Frank Miller/Klaus Janson series that was originally released in two haves beginning late last year. To me, splitting up the story just screamed of a cash grab, since most fans would immediately want both parts. I waited, though, rightly figuring that once both releases were in stores, we’d eventually see them combined in its proper way. Which it is now.
Check out a clip and find out my thoughts after the jump!
You know, there have been a lot of heavy comics in this column of late: The Witching Hour, Coffin Hill, and The Spectral Engine. I suppose it’s because last month was the month of October. And I suppose it’s because last month, this site was celebrating something we like to call 31 Days of Horror. We love Halloween ‘round these parts and publishers saved their best horror comics for the scariest of the autumn months!
But we’re talking comic books here! Won’t someone think of the children?!?
Well, DC Comics has. And roh boy, it’s a bit of a blast from the past!