by David Harper
As if they have to perpetually battle the longform opinion piece I did about their potential demise, Vertigo Comics announced yet another two new books from exciting creators today at NYCC. Both of them sound supremely awesome, and have me very excited about the future of the imprint.
The first is “Clean Room”, a new horror series from fan favorite writer Gail Simone and 2000 AD veteran Jonathan Davis-Hunt that sounds super creepy and intensely psychological, telling the story of the twisted fates of people surrounding one room that cures all mental ills a person may have. It’s a fascinating sounding tale, and one that can be noted as being written by maybe comic’s preeminent woman writer and feature two leads who are women. Plus, covers from Jenny Frison and art from the extremely promising Davis-Hunt? Be still my beating heart.
by Matthew Meylikhov
Over on Reddit, Jeff Lemire participated in an AMA today, interacting with fans and answering questions for the past couple hours. There’s a lot of great answers in there for fans of Lemire, including how “Trillium” was born from a failed Adam Strange pitch and that the previously announced “Roughneck” will be out in 2016 as well as a new series that he’s writing and drawing for next year. But for the purposes of this article, there’s one answer that sticks out in particular to me — user Sibbo94 asks which of Lemire’s characters that he has worked on would he like to return to, to which Lemire replies:
Of my work for hire stuff, I really only miss THE BAKER FAMILY. I’ll always miss them, even though I write Buddy in JLU.And of my creator owned, I miss Sweet Tooth and Jepperd all the time. I’ll be doing a new short Sweet Tooth story later this year in the VERTIGO anthology K
As of right now, there is no information for the finale to Veritgo’s CMYK anthology, which would cover the color of black (which, as I just found out, is represented by K as the other colors are keyed to the black key plate — neat!), so I’m chalking this up to new information. As such, I hearby declare this as today’s best news, because “Sweet Tooth” is one of the best modern comics, one of the last of the Vertigo greats, and I for one am highly anticipating Jeff Lemire’s return to the characters of Gus and Jepperd. Of course, the Vertigo anthologies use the colors as a crucial piece of the storytelling, so I’m doubly interested to see how the color black is used as an integral part of this as well.
by Brian Salvatore
‘Tis the season, folks! This is one of the most exciting months of solicitations that DC has put out in some time, and not even specifically because of (or, sometimes, in spite of) the titles listed blow – instead, their line just seems to have a cohesion and a consistency that it hasn’t seen in ages. Sure, there are some clunkers, but overall, this is the healthiest the DCU has looked in, dare I say, years.
by David Harper
Just announced on Bloody Disgusting and Cullen Bunn’s site, “Wolf Moon” is a new Vertigo Comics series coming from the writer of “The Sixth Gun”, “Sinestro” and “Magneto”, with art by Jeremy Haun. As you might be able to guess from the title, this new series is a “different take on the werewolf legend” (as Bunn said in his own words), and finds a lone man tracking down werewolves to get revenge for the family he lost to them long ago.
What’s unique about this take on the world of werewolves, though, is how they work exactly, with the wolf element actually being a symbiote in a way that jumps from host to host with each moon cycle. As Bunn tells Bloody Disgusting, this allows him to more deeply explore the impact that these people’s actions have on them after they’re left behind in the wake of the wolf’s rampage, and it definitely sounds like a unique, atypical angle, even with werewolf Punisher hot on their tales.
If you’re reading Multiversity, then there’s a good chance you know what a variant cover is. You can probably explain to someone what incentive covers are, and why some of them cost more than others. But how much do you really know about them?
There’s a good chance that when comic fans of the future look back on this era, while there will be heavy focus on the continuous events and the emphasis on writing over drawing, the wide use of variant covers will be noted as well, as multiple covers are an undeniably important part of the modern comic industry. For proof, all you have to do is glance through Previews or walk into any local comic shop; depending on the publisher, variants receive a fair amount of promotion in comic solicitations, and most shops will display their incentive covers in a special part of the store. From a casual glance, you might even come to the conclusion they are a vital part of today’s comic market.
But do you really want to settle for casual glances and anecdotal conclusions? I sure don’t! Enter:Multiversity’s look at variant covers.
by Brian Salvatore
After last month’s deluge of new titles, DC continues to tweak their line, adding some new creative teams, one new book, and generally doing their best to sure up their comics. The results may not be as sexy as last month, but there is still plenty of good stuff to be gleaned from November’s solicits.
“He’s doing something many have lamented DC in the New 52 era for not doing, and that’s trusting in creators who have proven to be brilliant storytellers outside of the old DC standards. That inspires confidence. That instills hope. That brings excitement. In bringing sensibilities he cultivated over at Vertigo to the Bat-Line, Mark Doyle isn’t just the hero we deserve; he’s the one DC needs.”
Read the full article here.
by David Harper
Got You Covered is back with another look at the best covers of the month. At the end of each month, we’ll be sharing the absolute best (in one writer’s mind) in comic covers for the month. Unlike before, they won’t be ranked, they’ll just be listed alphabetically with explanations as to why each is such a great example in the art of comic covers.
Share your thoughts in the comments about what were the best covers in the month, and thanks for reading.
by David Harper
To know Massimo Carnevale is to love Massimo Carnevale. If I made a shortlist of most flat out gifted artists that work in comics, Carnevale would be right near the top of the list, and his painted work has notably graced the covers of renowned series like “Y the Last Man” and “Northlanders”, helping make those great series all the better in the process.
Lately, he hasn’t done as much comic work (he has never really done much in terms of interiors, anyways), but his work on his site Sketchesnatched where he creates interpretations of movies and TV shows with his art underlines the magic in his art. With those pieces, he manages to boil down the essence and feel of entire films or shows into a singular image. His gift for doing that shows what many artists know, and that’s that this man is absolutely, undeniably brilliant at instilling power, weight and meaning into even the simplest images.
We’d seen that before from him, though. Take his cover to the final issue of “Northlanders.” Could anything have been a better coda to the series than his final cover? The end of an era, singular image of the viking helmet with the seabird resting upon, achieves so many layers of meaning it’s a story within a painting. The old adage is that a picture is worth a thousand words, but with Carnevale, those aren’t just any words. They’re carefully crafted and selected words put together with an eye for lyrical beauty. Carnevale is like any great artist from any medium. He’s transcendent. He’s timeless. He’s my choice to kick off our month of art features in Artist August. I hope you enjoy his work below, and please, check out his site for more.
by Matt Dodge
After traveling from the bottom of the ocean to the ships of the future, Scott Snyder and Sean Murphy bring their monster-mermaid miniseries to an unexpected close.
As a note, some spoilers for the issue are discussed (a bit unavoidably, due to the final nature of the issue).
Even though it’s only been 10 issues from start to finish, “The Wake” has been a long and twisty journey. It began as a John Carpenter-esque horror story, full of claustrophobic terror and tension, before wiping out the entire cast of characters and jumping two centuries into the future. This expanded the story into a completely unexpected direction, and showed a rarely seen world where the monsters have already won. As the end nears, however, it becomes apparent the past is not so lost after all, and the fight against the Mers will not have an easy or simple conclusion.