Freak Comics

I hit the comic shop fully intending on passing up Secret Files & Origins 2006: Infinite Crisis… but I bought it anyway.

“A whopping $5.99 for one comic?!” my brain had reasoned, “That’s the price of more than two comics put together!”

My brain is a cheapskate. My hands are not. I slapped down the cash and purchased the comic (along with backer-boards, plastic, several other issues and two bright eyes records purchased next door) and left for the long walk back to my apartment. Twenty minutes later two of my friends showed up in front of my home to go out for dinner and I was out the door again, comics in bags on the shelf waiting patiently for me to read and critique them.

For Secret Files that time was tonight, and unfortunately I couldn’t help but feel disappointed.

I’m definitely hooked on Infinite Crisis… anyone who chooses to spend nearly six dollars on a comic book can consider himself hooked… but this thing left me feeling bored. I couldn’t help but think of this comic as something I would purchase from a quarter bin found at the back of an obscure comic shop only to read 6 pages down the road and abandon it.
The dialogue was good and a few pivotal points were revealed about the multi-verse survivors. The story was a little long and drawn out though, and the art was mediocre. I had a vague feeling that I would come off disappointed with this comic, but I purchased it anyway.

I’m addicted and I’m not sure what I’ll do once this crisis is over. It’s pretty clear what DC would have me do: buy the spin-offs of course!
Shadowpact, Sinister Six, Specter… but dare I buy in to their marketing strategy? But do I really care who the next Blue Beetle is?

Truth be told, I didn’t give a care about Superman, Batman, Shazam or any other DC character before reading the Crisis books… but now I regularly buy Superman and Batman titles, as well as the Infinite Crisis comics and any crossovers that look interesting. In fact it’s spread beyond the main titles for me… I even pick up Action Comics, Adventures of Superman, Detective Comics, Batman and Robin All Star Series, Justice, Sgt. Rock and several other DC titles on a monthly basis all because of Infinite Crisis.

IC has reintroduced me to DC comics and almost completely stolen me away from Marvel. While I still love independent comics more than main stream (give me Walking Dead or Fear Agent over anything else), I still purchase more DC titles than otherwise.

So what does this all mean? Have I been brainwashed? Am I doomed? Am I a corporate junky sucked in by an amazing marketing ploy? Many would answer yes. DC, however, is offering some of the best and most entertaining writing in the industry, and isn’t that really the job of comic books… to entertain? Just because a major company does something right and gets people to buy their product doesn’t mean you should shun them… especially when it comes to comics.

This June, Image Founder JIM VALENTINO cleans the slate for a new chapter in the saga of ShadowHawk, with a special issue delving into the character’s past. “Past Lives” will feature four stories by four different creative teams offering glimpses into the lives of ShadowHawks in a stand-alone issue with no ads.

Having recently reclaimed his helmet and his heritage, young Eddie Collins, the current and last ShadowHawk in a 5000 year lineage, delves into his legacy and examines the lives of three ShadowHawks that came before him.

A Spanish monk discovers the true meaning of justice in a tale by writer PEDRO ANGOSTO. Entitled Halcón Sombrío, the story traces ShadowHawk back to the Aztec Empire during the invasion of Cortes’s army and marks the return of CARLOS RODRIGUEZ, the artist who helped re-launch SHADOWHAWK as an ongoing series in 2005.

Hawk and Shadow, meanwhile, is set in London in the year 1830, and focuses on a strife-torn family caught up in the ever-growing opium trade and a ShadowHawk forced to face his own brother as the war that never ends begins. Written, illustrated and colored by THE SHARP BROTHERS, who also provide the cover to this special issue.

Fast forwarding to 1970’s New York, ShadowHawkGirl features collaboration between former SHADOWHAWK writer SCOTT WHERLE and EMISSARY & REX MUNDI artist JUAN FERREYRA for the tale of a would-be ShadowHawk who discovers the hero within herself and proves to be an unlikely source of inspiration.

To cap it all off, the regular SHADOWHAWK team of writer/penciler VALENTINO, inker G.W. FISHER and colorist CHRIS McFANN provide a framing sequence featuring the current SHADOWHAWK, Eddie Collins, as the stage is set for the next phase in ShadowHawk’s life – including the debut of an all-new costume!

SHADOWHAWK #13 is available for order in the in the April issue of Diamond Previews (on-sale March 22) and hits the stands in June.

Written by Runaways scribe Brian K. Vaughan with art by Scottie Young, the all-new story entitled “We Don’t Need No Education” finds the former teen superheroes the X-Men looking to drop a little knowledge on the Runaways. But it just might be the rebellious Runaways who do some teaching of their own.

“I’m really excited about showcasing some of the Marvel Universe’s coolest characters, classic and contemporary, in a brand new story that will be completely accessible to all Free Comic Book Day readers, young and old,” says Vaughan.

Also included in this Free Comic Book Day Special is Ultimate Spider-Man Saga, a look at the highlights of the 90-plus issue history of Ultimate Spider-Man. And if that wasn’t enough, there is also a preview of Marvel Adventures: The Avengers and a Franklin Richards short story because, well, everybody loves Franklin.

Mark May 6th on your calendar and pick up X-Men/Runaways at your local comic shop because as Brian K. Vaughan said, “If nothing else, we guarantee you’ll get your money’s worth!”

Joe Quesada echoes everybody’s sentiments here at Marvel when he says, “We’re excited to present new material this year and pleased to be a part of Free Comic Book Day for the fifth year in a row.”

For more information about Free Comic Book Day please visit: https://retailer.diamondcomics.com/main/fcbd.asp.

It’s a good, old-fashioned alien invasion as the Brood touchdown on Earth in Ms. Marvel #2. But are the Brood looking to take over the planet or are they using Earth to hide from an even greater threat?

Featuring the debut of a powerful new villain, Ms. Marvel #2 continues Brian Reed and Roberto De La Torre’s reintroduction of Ms. Marvel as one of the premiere superheroes in the Marvel Universe.

Comiccritique.com says, “Ms. Marvel #1 was a solid book that I think could easily be a five star series…Carol Danvers is finally getting the respect she deserves.”

Fresh-faced writer and filmmaker Zeb Wells is a happy guy. He’s recently accepted an exclusive contract with Marvel Comics and is looking towards a bright and creative future with the industry giant.

“Axel took a chance on me and has always looked out for me. Joe has always believed in me as a writer. They’ve both pushed me to do my best work, and have put up with a lot of the growing pains of working with an inexperienced writer,” says Wells of his tutelage under Marvel professors and senior editors Axel Alonso and Joe Quesada. “On top of that, the Marvel Universe just feels like home. In many ways the DC Universe is a place for mythic stories, where the Marvel Universe is a place to explore the sloppy imperfection of being human. As someone with glaring imperfections and almost crippling flaws, I feel this is the place to tell my stories.”

“I didn’t see it coming at all, so it was very exciting, obviously.”

Wells, two-time winner of Wizard Magazine’s “Direct to Video” Contest, has been getting his feet wet in the Marvel Universe with work on SPIDER-MAN’S TANGLED WEBS, PETER PARKER: SPIDER-MAN, SPIDER-MAN: DOCTOR OCTOPUS-YEAR ONE, and NEW WARRIORS. He’s even dipped into the kid-friendly side of Marvel with MARVEL ADVENTURES: SPIDER-MAN and can currently be found putting words in the mouth of DOC SAMSON.

“Axel and I have been thinking of never allowing Zeb near Spider-Man ever again, just to see him cry!” chuckles Quesada, Marvel Editor-in-Chief. “But seeing how were just not that mean here at ol’ Marvel, we might consider letting him play with the webs again…maybe. If his adoring public demands!”

“Yeah, it’s kind of weird that I’m still fairly green and have already gotten Spider-Man ‘out of the way’,” says Wells of his spider-obsession. “If I hadn’t worked on him already,

I’d definitely be chomping at the bit to write him. Axel once said that I have a tendency to write humorous stories with a heart of gold, and I think Spidey really let me indulge that compulsion. I guess with Spidey well spoken for I’ll have to develop some new tricks…”

There’s another recent project that Wells is also proud of. “FANTASTIC FOUR/IRON MAN: BIG IN JAPAN with Seth Fisher is unlike anything I’ve done, or seen done before. It feels like an artistic success, as pretentious as that sounds. And I’m immensely proud of the work Skottie Young and I did on NEW WARRIORS.”

“I feel like Skottie and I have just begun to tap what we’re capable of as a duo. We both feel that there is so much more to discover and accomplish, and our plan is to work together as much as possible and shame whatever we’ve done together in the past. I’d also like to do more stories geared toward the darker aesthetic I played around with in

SPIDER-MAN: DOCTOR OCTOPUS-YEAR ONE.”

Fans of that “darker aesthetic” may also be interested in a project or two that Wells would simply “die” for. “I have an idea for a Blade story I would literally give ANYTHING to write, and I think there’s something in Venom’s new status quo that could make great stories as well.”

“I’ve been working with Marvel since 2001 and for them to offer me a permanent home for the next few years is exciting,” says he. “Knowing that I’m going to be doing projects with Marvel for the foreseeable future let’s me put a little more energy into the creative process, and less on lining up my next project. I’m looking forward to growing as an artist!”

Above and beyond comics, he has also been artistically involved with animation, toys, trading cards, and role-playing games.

When asked why Marvel is the type of company he can commit to, Young is quick to answer, and answer confidently. “There’s plenty of reasons really. There are some great characters at Marvel that I’d like to sink my teeth into, but mostly, working with (writer) Zeb Wells on a few more projects is what really hooked me in. We had such a great time on NEW WARRIORS, and I just couldn’t imagine not moving onto another project or company with out him.”

“Zeb and I really put our heads together and came up with a fun approach on that title. I think the end result was exactly what we intended it to be. This was also the first project that I controlled all of the art chores, pencils, inks and colors. So, that was a fun challenge and a great learning experience.”

“And, like I said before, I’ve been working with Marvel for awhile already, so I feel comfortable with the crew up there.”

“The money is a nice touch, to…haha”

Marvel Editor-in-Chief Joe Quesada has high praise for Young. “We’re probably overdue with showing Skottie how much he means to us at Marvel, but hey, better late than never! His work is a great example of the diversity in art styles we want to nurture here. He and it rock this House.”

Young is dreaming of future work, of course, and the vast library of Marvel characters. “First, I would give up a limb to bring back GENERATION X. I’m not even kidding. That book is the reason that I draw comics for a living. It blew my mind. Chamber, Skin, and the rest of the crew were so sick. So, if I could just convince someone up at the House to throw me the keys that car, I could die a happy man.”

“Second would be Spidey and Venom. I did a short run on Venom at the end of the last series and people seemed to like it. I enjoy villains, and Venom is just nasty. I think that is most def a character that I could try some new things on. I’d love to start a new ongoing of Venom and just tear it up. Or just get on Spidey book and flip it on its head.”

Still, for the present and immediate future, the young artist is pragmatic. “Now that the pressure of lining up new projects out in the world is gone, I can really focus on stepping up my game. NEW WARRIORS was a funny book, and the art matched that tone. After working on that kind of art, I’m ready to get a little gritty, and dark. I really want to deal with some heavier material.”

“I think that will help push me to find new places that I can take my art.”

“I was very excited!” exclaims J. Scott Campbell, thinking back to the moment when industry-leader Marvel Comics offered him his own exclusive contract. “I’ve been a huge fan of all things Marvel ever since I can remember! And after ten years in the business, I’m thrilled to have some real fun with these characters I’ve loved since I was a kid!”

Campbell, the fan-favorite artistic force behind the ultra-popular GEN 13 and DANGER GIRL series, and the current project WILDSIDERZ, was roped into the Marvel stable by an offer he simply could not refuse: to work on a new, ultra-secret project alongside award-winning writer Jeph Loeb.

“That was a killer combination I just couldn’t say no to!” enthuses Campbell.

“I’m going to be working on my absolute favorite Marvel character right out of the gate. And I seem to also be getting quite a bit of creative input on the project, so I couldn’t be happier!”

The good feelings are mutual, when it comes to Campbell’s new partner, Jeph Loeb. “When I first came to Marvel,” explains the scribe, “Joe Quesada asked if I was interested in a certain character. I told him if we could get this ONE guy to draw it, I was in.”

“J. Scott Campbell has waited his whole life for this gig and I’m thrilled to be the writer who creates the story he’ll illustrate. We’ve talked about this project in general - too soon to talk about story - and, just as fans, we see the characters EXACTLY the same…as if we’re finishing each other’s sentences! Can’t wait to see what Jeff creates!”

“This is gonna rock!”

“Yes, Jeph and I have been brainstorming a lot about the overall tone we’d like to take with the series and which villains and guest stars we’d both like to see,” adds Campbell. “It’s in the very beginning stages right now, but I already love what we’ve been discussing!”

“I think the fans are in for a great ride!”

More details on the project to be revealed soon. Look to Marvel.com for all your super-heroic needs.

“As a kid I always favored Marvel over DC,” notes Paquette. “But somehow, I’ve spent most of my professional life to this point at DC, greatly enjoying working on books like

TERRA OBSCURA and SEVEN SOLDIERS.”

“Still, my early days love for the X-Men was haunting me and when Marvel offered to join me in my dream and let me tackle these characters, I just couldn’t resist.”

Paquette has worked for a bevy of comic book publishers, lending his unique, striking character work to such books as X-FILES, XENA, GEN 13, WONDER WOMAN, SUPERMAN, JLA, AVENGERS, and GAMBIT. He may be best known for his work on the aforementioned two volumes of TERRA OBSCURA, for ABC.

Marvel Fans looking forward to the upcoming universe-wide CIVIL WAR will find Paquette delineating CIVIL WAR: X-MEN.

Marvel Editor-in-Chief Joe Quesada is happy to be part of completing on of Paquette’s professional goals. “Yanick’s a great guy, a fantastic artist, and someone who’s been toiling too quietly in the industry. He deserves to be up in the clouds with the rest of us at good ol’ Marvel…we’ll make a superstar outta him!”

The artist has previously stated that his three big art influences are Kevin Nolan, Adam Hughes, and Mike Mignola. “And many others from the old realistic school like Al Williamson and Hal Foster. I admire that old school a lot,” he adds.

Paquette is very optimistic about his new home at Marvel. “After years of drawing comics for a living, I’m going back to my childhood passion to renew my fervor and creativity for my work.”

Stay tuned to Marvel.com for word of Paquette’s newest Marvel Comics assignments.

Edwards lush painted graphics and detailed illustrations have not only been admired by comic fans, but have also been devoured by followers of advertising, animation, movies, children’s books, magazines, and video games. In the comics world, his art has been glimpsed in and on THE QUESTION, BATMAN: GOLDEN STREETS OF GOTHAM, STAR WARS: EMPIRE, HELLBOY: WEIRD TALES, WHAT IF: DAREDEVIL, X-MEN, and X-FACTOR.

To coin a phrase, Edwards has “seen it all and done it all”.

In comics, I guess I’d have to say that I’m pretty proud of THE QUESTION miniseries I illustrated for DC,” he notes. “Rick Veitch wrote a great story and gave me the opportunity to really push the envelope in the realm of technique and storytelling.”

“Wow!” exclaims Marvel Editor-in-Chief Joe Quesada. “Tommy’s been knockin’ our socks off in so many different mediums! Seems everywhere I turn, I see his gorgeous art…now, we got ‘im here at Marvel and our characters and covers have never looked better!”

“I feel great about the kind of work I’ll be doing,” says the artist himself, commenting on his new contract. “And it also feels nice that people may actually see it. I was getting tired of putting my heart and soul into a project- only to have no promotion from the publisher, and no trade paperbacks. My deal with Marvel has the potential to be just the opposite. The other cool thing for me, is that the ‘exclusivity’ factor applies only to comics. It’s important that I’m still able to work as an illustrator in the realm of movies, children’s books, animation, and computer games.”

“I’m painting a pile of covers for DAREDEVIL right now,” he continues. “The main project I’ll be spending this first year on is a five-issue series called BULLET POINTS. It’s written by J. Michael Straczynski, and involves a huge chunk of the Marvel Universe. Some of the main characters are Reed Richards, The Hulk, Iron Man, Peter Parker, Steve Rogers, and Doctor Strange.”

Crisis on Multiple Earths was a genius idea. It was a way for DC to bring back some old characters from the past, and it changed their universe forever.

In the 40’s Green Lantern, Flash, Hawkman and several other heroes joined forces as the Justice Society of America. This was an original idea at the time and sold many a comic. However people got sick of it and the Justice Society disappeared. Many of the heroes were reworked and renamed (Jay “flash” Garrick became Barry “flash” Allen for instance), and the Justice Society of America was formed. No explanation was given for this transition and time passed.

Eventually DC’s writers wanted to revisit the old Justice Society members and provide some closure on their disappearance. This was accomplished in 1961 by Gardner Fox (original Justice Society creator). He invented a universe that consisted of more than one dimension and simply wrote a story that placed the original Justice Society members on a different Earth than the Justice League members. They met up when the two flashes vibrated in to each other’s respective dimension (possible because the two Earths occupied the same space, but at different vibrational frequencies). The current more familiar Earth was dubbed Earth-1 and the old Justice Society Earth was named Earth-2 (even though it was first).

The series was a hit. For years the Justice League and the Justice Society would team up in the pages of the Justice League of America comics. In 1985 Crisis on Infinite Earths kicked off. It was a year long maxi-series and ended up with the merging of parallell universes in to one.

My interest in Crisis on Multiple Earths was sparked from reading the current Infinte Crisis series. Things were more than a little confusing to me, so I thought: why not begin at the begining? I purchased Crisis on Multiple Earths volume one from a local comic shop and started reading. Right from the get-go I loved the idea of Multiple Earths, alternate realities and old heroes revisisted. The idea behind the story is great… the execution is another matter. Silver age comics lack a serious tone… I already knew this from reading old Spider-Man comics… but nothing I’ve ever read in the super hero genre can compare to the ridiculous writing in this series.

Crisis? What crisis?

Each time the Justice League of America and Justice Society of America would team up, the event was dubbed a “crisis”, yet in reality each of these events was basically a fight between the afore mentioned teams and some decrepit, broken-down super villains who some how managed to almost conquer the heroes, only to be stopped in the end in an unimaginative manner. How can the threat of Owl Man and his band of super villains be considered a crisis? His name is Owl Man, and he wears an Owl Head hood that leaves his face fully exposed for crying out loud!

A criris should be something big… something horrible. The comic did pick up a little towards the end of the volume when people from Earth-One were changing places with people on Earth-Two. These two issues featured the Specter as well as Anti-Matter Man. This had a slightly more desperate ring to it, but once you find out why the two worlds were switching places, you really can’t help but laugh (one of the Atom’s students from Earth-One built a machine that would manipulate the orbit of planets. When switched on, it pulled the two earths towards each other from their seperate dimensions).

No C.O.M.E. = no C.O.I.E. = no I.C.

I can’t complain too much about Crisis on Multiple Earths. The fact is, Crisis on Multiple Earths was a great idea. I love the fact that the Justice Society could be revived with their original costumes and identities in such an easy, sensible manner. I love the idea behind this story. I don’t love the execution… that’s where things are a little off. I just couldn’t get lost in the story without noticing the dated artwork and dialouge, thin plot lines and gaping plot holes, and really goofy looking characters.

Yet, without Crisis on Multiple Earths we wouldn’t have Crisis on Infinite Earths which in turn would mean no Infinite Crisis, and that’s just a crime! If you haven’t read Crisis on Multiple Earths and want a better grip on what this Crisis thing is all about, go to your local comic shop, pick up the issue and read the introduction. It’s the best part of the book and explains things better than any other write up I’ve seen. After that, but the book back on the shelf and save yourself $15… Crisis on Multiple Earths ain’t worth your cash.