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From Knuckleheads #6, art by Robert Wilson IV. Winkeler & Wilson IV/Monkeybrain.

From Knuckleheads #6, art by Robert Wilson IV. Winkeler & Wilson IV/Monkeybrain.

Review: 'Knuckleheads' #6 Waises the Woof

From Knuckleheads #6, art by Robert Wilson IV. Winkeler & Wilson IV/Monkeybrain.

From Knuckleheads #6, art by Robert Wilson IV. Winkeler & Wilson IV/Monkeybrain.

An issue of Knuckleheads costs less than a 20oz soda. That should be enough to get you to give it a go, no matter what the rest of my review says. I can guarantee you that you've spent more on comics that are far, far worse than this. How many issues of Spawn did you buy out of obligation before you dropped it from your monthly pulls? Exactly. Knuckleheads is about as close to "no risk" as comics come.

Click to purchase on Comixology.

Click to purchase on Comixology.

Do you like to laugh? Of course you don't. Like I said, you used to read Spawn. But if you're willing to give laughing another shot, you might want to give Knuckleheads a try. If you don't laugh, it's digital, so you don't even have to worry about giving the comic away to some little kid who likes baby ha-ha comics. Like I said, no risk.

Knuckleheads #6 makes a good jumping-on point, with Trevor Trevinski exploring the extent of his cosmic powers -- and learning an amazing new ability! -- while his pals (well, one pal and two near-strangers who've gotten sucked in to Trevor's world over the course of the first five issues) capture it all on an iPhone. The set-up in the previous issues is that Trevor is the possessor of the Crystal Fist, an artifact resembling brass knuckles but made from otherworldly crystal. As a person, he's a half-assed superhero, but the actual power of the Crystal Fist makes up the other half for him (most of the time). In his earliest outings, Trevor fights a giant reptilian monster then armed rednecks -- clearly writer Brian Winkeler knows how to raise the stakes.

Artist Robert Wilson IV is a deft cartoonist with a sly sense of timing (and Jordan Boyd's colors make Knuckleheads look like a book that should cost more than one dollar). I especially appreciate that everyone has different, distinct faces to go with their personalities -- hey, just like in real life! (It sounds like a given, but you'd be surprised how many artists don't do this.) There's a two-page gag in #6 that's especially clever, and I hope there are more jokes that depend on visual storytelling as the comic continues to strengthen.

That's something else Knuckleheads does besides "be funny." It gets better with every issue. Let's say you don't read Spawn. Maybe you read books like Superior Foes of Spider-Man or Hawkeye or even the DeMatties/Giffen run of Justice League. If that's the case, then Knuckleheads should be an easy sell. This is totally in your wheelhouse. It's digital, so you don't even have to worry about some little kid who likes baby ha-ha comics stealing your precious Knuckleheads collection. (Unless you buy it collected in print, available July 22! I can't help you then. Good luck.)

Panel from Knuckleheads #6, art by Robert Wilson IV. Winkeler & Wilson IV/Monkeybrain.

Panel from Knuckleheads #6, art by Robert Wilson IV. Winkeler & Wilson IV/Monkeybrain.

Posted in Reviews and tagged with brian winkeler, robert wilson IV, monkeybrain comics, knuckleheads, digital comics.

June 16, 2014 by John Gholson.
  • June 16, 2014
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Panel detail from Kinski #1, art by Gabirel Hardman for Monkeybrain Press. 

Panel detail from Kinski #1, art by Gabirel Hardman for Monkeybrain Press. 

Podcasts: Traversing the Digital Comics Landscape in 'The Passionate Task'

Panel detail from Kinski #1, art by Gabirel Hardman for Monkeybrain Press. 

Panel detail from Kinski #1, art by Gabirel Hardman for Monkeybrain Press. 

So, we've got host , who wrote a thorough piece on the Comixology/Amazon deal and was linked everywhere because of it. We've got , tech podcasting celebrity and a digital comics reader. We've got , comic creator (Diesel Sweeties) and seller of obscene ice scrapers. And we've got me, a dude with a Kindle Fire HD and opinions about things like "guided view" and "prices." Put all of us together, turn on a topic (in this case the shifting digital comics landscape), and glide us gently into your earholes. After we wonder what the future looks like, we talk about what our present looks like -- offering up some must-read comic suggestions.

You can listen here or subscribe to the Giant Size channel via iTunes.

Posted in Industry News, podcasts and tagged with esnfm, comixology, amazon, digital comics, marvel digital comics unlimited, kinski, the private eye, merlin mann, rich stevens, diesel sweeties, cuecat.

May 22, 2014 by John Gholson.
  • May 22, 2014
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Cover detail from Chew #15. Art by Rob Guillory. Image Comics/John Layman & Rob Guillory.

Cover detail from Chew #15. Art by Rob Guillory. Image Comics/John Layman & Rob Guillory.

Podcasts: 'Internet Comics Database' on ESN.fm's Giant Size

Cover detail from Chew #15. Art by Rob Guillory. Image Comics/John Layman & Rob Guillory.

Cover detail from Chew #15. Art by Rob Guillory. Image Comics/John Layman & Rob Guillory.

Every year SXSW becomes slightly more comic-centric, which I guess makes sense as comics become more focused on the digital experience. In this episode of Giant Size, host Moises Chiullan and I talk about digital comic success stories and how the relationship between the internet and comics creators is changing how we buy comics. Between our regular chatter, we have interviews with Code Monkey Save World's Greg Pak, Jonathan Coulton, and Drew Westphal, as well as conversations with head honchos from Comixology (CEO David Steinberger, John D. Roberts, and Chip Mosher) and one-half of the team that's made Chew a cult success for Image, artist Rob Guillory.

I think the best part of this show (no disrespect to the guests) is when Moises and I start talking about Marvel AR and how digital bells and whistles in comics should really work. It's the part of the show that inspired this episode's title, and I'd like to know what other people think about where our heads are at concerning how to make digital comics an all-together different experience than print.

Thanks to our sponsors...

SPONSORS

  • Squarespace: everything you need to get started making a website. Visit the link and use the offer code in the show (part of the show's name) for 10% off
  • Drobo: mass storage for the masses. Use offer code MOISES for $50 off any model including the new Drobo 4-bay (normally just $349)

And thank you for listening. You can listen here or subscribe to the Giant Size channel (which includes the full shows as well as "Test Pattern," our always-interesting post-show chatter).

Posted in Industry News, Opinions, podcasts and tagged with sxsw, rob guillory, comixology, code monkey save world, greg pak, jonathan coulton, drew westphal, david steinberger, john d roberts, chip mosher, chew, marvel ar, digital comics, marvel digital comics unlimited, image comics, kinski, knuckleheads, monkeybrain comics, doc unknown, scary go round.

April 8, 2014 by John Gholson.
  • April 8, 2014
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  • code monkey save world
  • greg pak
  • jonathan coulton
  • drew westphal
  • david steinberger
  • john d roberts
  • chip mosher
  • chew
  • marvel ar
  • digital comics
  • marvel digital comics unlimited
  • image comics
  • kinski
  • knuckleheads
  • monkeybrain comics
  • doc unknown
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Cover art for Deadly Class, Black Science, and Sex Criminals. Upcoming from Image Comics.

Cover art for Deadly Class, Black Science, and Sex Criminals. Upcoming from Image Comics.

News! Image Explodes, Dark Horse Sinks, Lion Forge Roars

Cover art for Deadly Class, Black Science, and Sex Criminals. Upcoming from Image Comics.

Cover art for Deadly Class, Black Science, and Sex Criminals. Upcoming from Image Comics.

Today was a massive day in publishing news, with the Image Expo in full-swing and some additional publishers jumping up and down yelling "ME TOO!" over all the applause for Walking Dead's Robert Kirkman.

First the Image stuff... 

Image announced that they'll be making their digital content available as DRM-free downloads in a variety of formats. This removes one of my biggest complaints about services like Comixology, in that you are essentially renting the books not actually owning them. Image was also forthright with what kind of numbers they're doing on the digital front, and it's nothing to sniff at. (Wired)

To kick off their new DRM-free digital policy, they've got Warren Ellis and Jason Howard's Scatterlands Vol. 1 available through the Image website for only $0.99. 

Panel detail from Scatterlands, by Warren Ellis and Jason Howard.

Panel detail from Scatterlands, by Warren Ellis and Jason Howard.

They also announced an all-star slate of upcoming books, with many of Marvel's biggest stars attached to upcoming projects. Here's some of the books they've announced so far: 

  • Alone from J. Michael Straczynski and Bill Sienkiewicz, a six-issue mini that will "deconstruct comic book storytelling."
  • Sidekick from J. Michael Straczynski and Tom Mandrake. The series explores what happens when the death of a superhero leaves a kid sidekick all alone. 
  • Southern Bastards from Jason Aaron and Jason Latour. Described by Image on their Twitter as "Dukes of Hazzard x Coen Brothers or The Untouchables vs Boss Hogg."
  • Rat Queens from Kurtis Weibe and John Upchurch. In a Tolkien-esque fantasy setting, a group of female mercs slay monsters and party as hard as they work.
  • Velvet, from Ed Brubaker and Steve Epting. It's a Cold War book with a female spy lead.
  • Sex Criminals from Matt Fraction and Chip Zdarsky. Two people with the ability to stop time at the point of orgasm find each other, go on a crime spree.
  • Satellite Sam from Matt Fraction and Howard Chaykin. This long-gestating project explores sexual indiscretions behind the scenes on a kiddie sic-fi TV show in the 1950s. 
  • Ody-C from Matt Fraction and Christian Ward, a sci-fi spin on the Greek Odyssey. 
  • Infinite Horizon from Gerry Duggan and Phil Noto. It's also supposed to be a sci-fi spin on Greek myth, and time will tell how this and Ody-C are different from each other. 
  • Black Science from Rick Remender and Matteo Scalera. Announced as a sequel to Fear Agent, but focusing on break-throughs in taboo "black science."
  • Deadly Class from Rick Remender and Wes Craig. Remender's using his own high school experience as the basis for this story of teenage assassins. 
  • Noah, from Darren Aronofsky and Niko Henrichon. This is the English-translation of the existing four-part Noah comic that ties in to Aronofsky's upcoming feature film of the same name.

You can read more about these projects in detail at Comics Alliance and The Beat. 

Meanwhile, Dark Horse has resurrected the Kitchen Sink brand for reprints and original graphic novels. The first book under the partnership will be The Best of Comix Book: When Marvel Went Underground,  reprinting Stan Lee and Denis Kitchen's stab at the burgeoning underground comics movement of the early 1970s. Bleeding Cool has some groovy exclusive images from the collection.

Last, but not least, is the news from indie publisher Lion Forge, who just signed a deal with NBC Universal to license some of their beloved TV properties for comics. The first batch of titles will include Saved by the Bell, Airwolf, Knight Rider, Punky Brewster, and Miami Vice. I have no idea if Lion Forge is going retro on all of these or if they'll get a modern spin. Who's the audience for an Airwolf comic book in the year 2013? I guess Lion Forge will find out soon.

Posted in Industry News and tagged with image comics, dark horse, lion forge, kitchen sink, image expo, digital comics.

July 2, 2013 by John Gholson.
  • July 2, 2013
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Marvel promo art by John Byrne. Marvel Comics.

Marvel promo art by John Byrne. Marvel Comics.

Gamechanging 'Marvel Unlimited' App Offers Digital Subscription Model

Marvel promo art by John Byrne. Marvel Comics.

Marvel promo art by John Byrne. Marvel Comics.

This is news many of us were hoping for - it was just a matter of time. Gizmodo reports that Marvel Comics will now begin offering their digital catalog of back issues for use on iOS (iPhone and iPad, with Android coming soon) for a flat subscription rate. Prices start at $10 a month, or limited-time offer of $60 for a year of service, which will allow access to over 13,000 digitally-scanned comics from Marvel's extensive history.

The app uses an HTML 5 reader, making it somewhat slower than Comixology and other readers, according to the piece, but Marvel promises to continue to update the tech (and the catalog) over time. Your subscription lets you browse through Marvel's books, read them, and save them to your personal library (up to six issues can be stored in-app for offline reading). Waiting for new issues will be similar to waiting for collected trade paperbacks, with Marvel eyeing a six-month window between the comic rack and the subscription service.

This is a continuation of the Marvel Digital Comics Unlimited model that began a couple of years ago, and allowed fans access to key issues on their browser only, through a paid subscription. This clearly opens up a whole new world in terms of monthly value, and it will be fascinating to see how the other companies respond to such a forward-thinking initiative.

You can download the Marvel Unlimited app on iTunes.

Posted in Industry News and tagged with marvel, digital comics, apps, marvel unlimited, marvel digital comics unlimited.

March 7, 2013 by John Gholson.
  • March 7, 2013
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Totally straight Superman, art by Alex Ross. DC Comics.

Totally straight Superman, art by Alex Ross. DC Comics.

Quick Thoughts on Orson Scott Card, Superman, and the Homosexual Agenda

Totally straight Superman, art by Alex Ross. DC Comics.

Totally straight Superman, art by Alex Ross. DC Comics.

Let me get the news out of the way first before I get into this. Orson Scott Card (Ender's Game) is writing a two-part arc for DC's digital comic Adventures of Superman. Many fans are very angry at DC, and calling for boycotts due to Card's active stance against homosexual unions.

Here's Card on the subject of gay marriage:

"...legalizing gay marriage is not about making it possible for gay people to become couples.

It's about giving the left the power to force anti-religious values on our children. Once they legalize gay marriage, it will be the bludgeon they use to make sure that it becomes illegal to teach traditional values in the schools.

Panel detail from Superman #7, art by Joe Shuster. DC Comics.

Panel detail from Superman #7, art by Joe Shuster. DC Comics.

Our children will be barraged with the deceptions of the left. Parents will be forbidden to remove their children from the propaganda.

Any child with any gender or sexual confusion will be pushed inexorably away from the decision to establish a traditional family. They'll be told, again and again, that any sign of effeminacy or gender confusion or same-sex attraction is an irrevocable, lifelong compulsion and they might as well shape their lives accordingly.

The left is at war with the family, and they want control of our children's education. That's what those signs on the lawns are about.

I'm not making this up – it's already happening wherever the left has complete control of education."

Typical, old school right-wing "homosexual agenda" paranoia. I've always wondered what a vast pro-homosexual conspiracy could stand to gain by "indoctrinating" children, but that's probably because I don't see homosexual activity as anything different from heterosexual activity.

Far less typical and more inflammatory are Card's broader opinions on homosexuals in general...

"Laws against homosexual behavior should remain on the books, not to be indiscriminately enforced against anyone who happens to be caught violating them, but to be used when necessary to send a clear message that those who flagrantly violate society's regulation of sexual behavior cannot be permitted to remain as acceptable, equal citizens within that society."

Today, RIch Johnston of Bleeding Cool directly addressed the subject of boycotts against the upcoming comic:

"There are a number of comic book creators who believe something very different to what I do. Some of those beliefs offend me. Sometimes they even inform their art, something that Card is unlikely to be accused of in Superman.

Some try to draw a line between an opionated [sic] person and an activist. I disagree, any famous person who expresses an opinion, especially in this day and age, de facto becomes an activist for that opinion.

It’s a very dangerous game, it has led in the past to witchtrials, McCarthyite or otherwise, and it’s no better than the actions of, say, One Million Moms. And next time? It could be you…"

Art detail from Superman #7, art by Joe Shuster. DC Comics.

Art detail from Superman #7, art by Joe Shuster. DC Comics.

I've seen other fans chime in with the sentiment that a creators' politics should be ignored in favor of good stories, and that makes some sense to me, but I think what Rich Johnston and those fans get wrong is thinking of this as a manner of politics. It really isn't. This is the matter of people who believe in their heart of hearts that human beings should be denied rights, if not outright punished by law, for romantic attraction.

To me, there's a massive difference between Frank Miller's opinions on Occupy Wall Street (to use one example) and how we interact with the other human beings on our planet. I support Card's right as an artist to create and have the work be judged on its own merit. But, at the same time, I admonish DC for inviting Card to create that work for them. Card can, and has, created his own material for most of his career. He's not artistically censored by being denied two issues of a work-for-hire Superman comic, and DC could say, "we don't want to put money in the pocket of someone who thinks gay people should be jailed if they're too gay." At a moment when DC should be making smarter editorial decisions in general, they've invited controversy instead. And not the good kind. (In full disclosure, Marvel has also worked with Card in the past, but Card's reputation as an outspoken anti-gay advocate grows every year - you're going to be hearing a even more about him when the Ender's Game film hits later this year). 

Johnston's last paragraph gets me hot under the collar because it's so live-and-let-live that it forgives people of wrongdoing with an argument that next time "it could be you." That's unacceptable. I may be saying what I think is "right," just as Card thinks what he's saying is right, but we don't advance as a society unless we challenge each others' viewpoints. We are where we are because of this concept. The argument grows and grows and the voices get louder and louder until the "wrong" voices are robbed of their power and things like women's suffrage or the civil rights movement happen. Those loud voices can send a very real financial message to an artist who uses his money to support groups that work to deny basic human rights to law-abiding Americans. In truth, DC Comics should've been the first loud voice in this situation. We wouldn't be having the conversation otherwise.

(Special thanks to luchins.com for the scans.)

Posted in Quick Thoughts and tagged with dc comics, orson scott card, rich johnston, bleeding cool, homosexuality, superman, adventures of superman, digital comics.

February 7, 2013 by John Gholson.
  • February 7, 2013
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Gutters and Panels Gutters and Panels

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