Comic Book Feeds

Mister Miracle and Batman: The White Knight Now Available in New, Exclusive Hardcover Editions

First Comics News - Wed, 05/15/2019 - 14:06

DC is offering new hardcover editions of their bestselling graphic novels BATMAN: THE WHITE KNIGHT and MISTER MIRACLE, available exclusively at your Local Comic Book Store starting today, May 15, 2019!

BATMAN: THE WHITE KNIGHT collects the critically acclaimed eight-issue miniseries written and illustrated by Sean Murphy in a dust jacketed 232-page hardcover edition with new cover art by Murphy priced at $29.99 US.

After years of epic battles, the Dark Knight finally finds a way to cure the twisted mind of his archenemy. The Joker…is now sane. The Clown Prince of Crime has now changed his ways, fighting for good in Gotham City, and it may just cause Batman to go over the edge of his own sanity. Writer/artist Sean Murphy takes the helm of this Batman/Joker story like no one else could, delivering an alternative examination of the relationship between the greatest rivals in the DC Universe, exploring the darkest corners of justice and madness.

MISTER MIRACLE collects the Eisner Award-winning epic 12-issue miniseries written by Tom King with art by Mitch Gerads in a new dust jacketed 320-page hardcover edition with cover art by Gerads priced at $34.99 US.

Scott Free is the greatest escape artist who ever lived. So great that he escaped Granny Goodness’ gruesome orphanage and the dangers of Apokolips to travel across galaxies and set up a new life on Earth with his wife, the former Female Fury known as Big Barda. Using the stage alter ego of Mister Miracle, he has made a career for himself showing off his acrobatic escape techniques. You might say Scott Free has everything…so why isn’t it enough? Mister Miracle has mastered every illusion, achieved every stunt, pulled off every trick—except one. He has never escaped death. Is it even possible? Our hero is going to have to kill himself if he wants to find out.

Both BATMAN: THE WHITE KNIGHT HC and MISTER MIRACLE HC are available in comic shops now!

Categories: Comic Book Blogs

WarnerMedia Partners with All Elite Wrestling for Multi-Platform Launch of Groundbreaking New Wrestling League

First Comics News - Wed, 05/15/2019 - 13:37

TNT to Air Weekly Matches Later This Year

Inaugural May 25 Event Available on B/R Live and via Pay-Per-View

AEW to Introduce a New Generation of Diverse Wrestlers and Give Fans a New Wrestling Experience for the First Time in 20 Years

May 15, 2019 – WarnerMedia announced today that it is partnering with All Elite Wrestling (AEW), the new professional wrestling promotion featuring a world-class roster of diverse male and female wrestlers, giving fans a new wrestling experience for the first time in 20 years. WarnerMedia and AEW together will build this powerhouse sporting league from the ground up and will begin airing weekly matches later this year. With this league, AEW is introducing a new generation of wrestlers to fans, offering fun, gripping and authentic athletic matches that will make wrestling more accessible to a broad audience. WarnerMedia will utilize its position as a next-generation global media company to build this league into a global pro-wrestling franchise.

Founded by President and CEO Tony Khan, AEW is headlined by members of The Elite, which includes all-star wrestlers The Young Bucks (Matt & Nick Jackson), Cody and Brandi Rhodes, Kenny Omega, and Hangman Page, and a roster that includes the legendary Chris Jericho. Omega, Cody and The Young Bucks also serve as executive vice presidents of the company in addition to in-ring talent, and Brandi Rhodes also serves as Chief Brand Officer.

Later this year, WarnerMedia will provide exclusive multi-platform access for fans to watch AEW events, airing live weekly matches on TNT in prime time, as well as streaming them through WarnerMedia’s B/R Live and on pay-per-view. A leading digital sports enterprise, B/R Live’s high fan engagement will provide an invaluable opportunity to build AEW’s audience.

“All Elite Wrestling is a talent-forward, fan-first league whose inclusive approach to creating high-quality athletic wrestling competitions is already making waves with fans and attracting top-tier wrestlers,” said Michael Quigley, executive vice president, commercial operations, content strategy and monetization at TBS and TNT. “It is high-adrenaline, gripping entertainment and we can’t wait to bring it to fans everywhere with this game-changing new business.”

“Wrestling fans have wanted – and needed – something different, authentic and better for far too long,” said Tony Khan, President and CEO of AEW. “AEW is answering the call. AEW is about more than wrestling. It’s about a movement fueled by wrestling fans who have been underserved and perhaps even disappointed by what the industry has produced in recent years. AEW is rising to the occasion with DOUBLE OR NOTHING and today taking it a step further by partnering with WarnerMedia, which is committed as we are to making wrestling fans the one and only priority. With WarnerMedia, AEW is poised globally to redefine wrestling as we know it today.”

Focused on producing fast-paced, high-impact competitions, AEW offers fans less scripted, soapy drama, and more athleticism and real sports analytics, bringing a legitimacy to wrestling that it has not previously had. Wrestlers will also be given more freedom to explore their characters and highlight their athletic abilities. Introducing statistics to wrestling for the first time ever, AEW will raise the stakes for its matches and deepen fan engagement by tracking each competitor’s wins and losses as the wrestlers pursue championships, analyzing their moves, assessing damage to their opponents, and providing insights into their winning streaks.

B/R Live will serve as the exclusive digital streaming partner in the United States for AEW’s inaugural event, DOUBLE OR NOTHING, on Saturday, May 25, at the MGM Grand Garden Arena in Las Vegas. DOUBLE OR NOTHING, which sold out in under 30 minutes, features an exhilarating card including the headline clash between Kenny Omega and Chris Jericho; Cody taking on his brother Dustin Rhodes; The Young Bucks battling the Lucha Bros for the AAA World Tag Team Championship; Hangman Adam Page clashing with PAC; and Britt Baker, Nyla Rose and Kylie Rae competing in a three-way match.

Additionally, the hour-long live pre-show special THE BUY-IN will stream on WarnerMedia and AEW’s social channels. THE BUY-IN includes the first ever “Casino (Battle) Royale,” which will see 21 competitors including Jimmy Havoc, Billy Gunn, MJF and Jungle Boy entering the ring in waves of five wrestlers every three minutes followed by one final entrant, lucky number 21, all fighting it out in the ring until there is one winner, whose reward will be a future title shot against the first ever AEW World Champion.

The media rights deal was negotiated by Khan and Bernie Cahill, co-founder of Activist Artists Management, LLC, an entity in which Khan is also an investor and partner.

Categories: Comic Book Blogs


First Comics News - Tue, 05/14/2019 - 22:51

NEW YORK — In her inaugural upfront presentation as president of ABC Entertainment, Karey Burke unveiled a slate of programming for the 2019-2020 season that is bolstered by the strength of established, fan-favorite shows and captivating new programs energized by bold characters and storytelling.

There will be newcomers, notably Tiffany Haddish, and inevitable cancelations. But ABC said next season represents the lightest hand in more than a decade.

“Viewers love our shows and we are listening to the audience. So this year we’re not trying to jam them with too many messages and too many new shows to watch,” Burke said. Although ABC had a “tough” start last fall, she said, a ratings rebound since January justifies the approach.

“Going into next season, our priorities are stability and launching shows in a way our audience will know we are committed to them. Add to that some of the most buzzed-about titles and top talent of the recent pilot season, and we have an enviable combination that sets the stage for us to win with women and grow our overall reach,” she said.

That means nurturing the shows in place, such as long-time ABC successes “Grey’s Anatomy” and “The Bachelor” and not “putting on something new for the sake of something new,” she said. A marketplace increasingly packed with streaming content is another reason to hold steady, Burke said.

Three new scripted series will debut in the fall – dramas “Emergence” and “Stumptown”; and the “black-ish” comedy spinoff “mixed-ish” – a remarkably fewer number, thanks to the consistent viewership that many of ABC’s current shows continue to offer.

In the current season, ABC claims six of the Top 20 broadcast entertainment shows, including two of the top four dramas – “Grey’s Anatomy” and “The Good Doctor” – and the No. 1 new comedy, “The Conners” – all of which will return in the fall.

“A Million Little Things,” which grew viewership following its move to Thursday nights and ranks No. 17 among the Top 20, will also return in the fall, along with the highly anticipated 11th and final season of one of TV’s most celebrated comedies, “Modern Family,” which rounds out ABC’s entries on the Top 20 list at No. 19.

Additionally, fan favorites “America’s Funniest Home Videos,” “American Housewife,” “American Idol,” “The Bachelor,” “black-ish,” “Bless This Mess,” “Dancing with the Stars,” “Fresh Off the Boat,” “The Goldbergs,” “How to Get Away with Murder,” “Marvel’s Agents of S.H.I.E.L.D.,” “The Rookie,” “Schooled,” “Shark Tank,” “Single Parents” and “Station 19” will return next season, as previously announced.

The midseason entries include the dramas “For Life,” about a prisoner seeking freedom for himself and others, with Curtis “50 Cent” Jackson among the producers, and “The Baker and the Beauty,” about the unlikely romance between a working man and a superstar.

The family comedy “United We Fall” also is on deck for midseason.

ABC’s fall prime-time schedule is as follows (all times listed are Eastern/Pacific). New shows are in bold.

8:00 p.m. “Dancing with the Stars”
10:00 p.m. “The Good Doctor”


8:00 p.m. “The Conners”
8:30 p.m. “Bless This Mess” (new time)
9:00 p.m. “mixed-ish”
9:30 p.m. “black-ish” (new time)
10:00 p.m. “Emergence”

8:00 p.m. “The Goldbergs”
8:30 p.m. “Schooled”
9:00 p.m. “Modern Family”
9:30 p.m. “Single Parents”
10:00 p.m. “Stumptown”

8:00 p.m. “Grey’s Anatomy”
9:00 p.m. “A Million Little Things”
10:00 p.m. “How to Get Away with Murder”

8:00 p.m. “American Housewife” (new day)
8:30 p.m. “Fresh Off the Boat” (new time
9:00 p.m. “20/20” (two hours)

8:00 p.m. “Saturday Night Football”

7:00 p.m. “America’s Funniest Home Videos”
8:00 p.m. “Kids Say the Darndest Things”
9:00 p.m. “Shark Tank”
10:00 p.m. “The Rookie” (new day)


The host of late-night’s “Jimmy Kimmel Live!” has signed on for three more years, Burke announced.

The new deal means that “we’ll be able to celebrate 20 years together with Jimmy,” she said.

He may not be required to rescue ABC from a repeat of this year’s no-host Oscars. When controversy drove Kevin Hart from the job, the ceremony failed to woo a replacement and let presenters carry the show.

Although Burke was noncommittal about 2020, she expressed satisfaction with the ceremony and its ratings.

“We’re extremely proud of how the show turned out creatively and how well it performed this year,” she said. “I think you’ll see us not messing with that formula, to the best of our abilities.”

Asked if that meant two-time Oscar host Kimmel wouldn’t be conscripted, Burke stopped short of ruling it out.

“I’m not being evasive. It’s something that the (motion picture) academy makes decisions about later in the year,” she said.

Categories: Comic Book Blogs


First Comics News - Sat, 05/11/2019 - 17:30

Our goal is always to provide you with the best possible viewing experience on WWE Network. Unfortunately, several device manufacturers have stopped updating the operating system of older products, which may impact your ability to stream high-quality video. As such, the WWE Network app will no longer be available on the devices listed below starting May 21, 2019:

  • Amazon Fire Tablets
  • Apple TV (3rd Generation and earlier models)
  • LG- 2016 and earlier models
  • PlayStation 3
  • Samsung (2016 and earlier models)
  • Samsung and Sony Blu-Ray Players
  • Sony (non-android TVs)
  • Windows 10 Desktop
  • Xbox 360

You can stream WWE Network on many other supported devices. For a full list, please visit WWE Network Support.

Categories: Comic Book Blogs

FutureQuake : Your Next Punk

First Comics News - Sat, 05/11/2019 - 16:14

Everyone comic fan has their answer to the question of what was their first comic.  The answers are incredibly varied. Equally varied is the answer to the question of what was your first import comic. Mine was Judge Dredd and 2000AD. That experience that still reverberates with me today. Even now, decades later, I am a fan track of the 2000AD universe.

Imagine my surprise to discover an independent publisher of 2000AD’s current publisher (Rebellion) that is publishing 2000AD characters. That company, FutureQuake, is wildly interesting.  Not only are 2000AD creators popping up at FutureQuake, the company (like 2000AD) has also launched the careers of popular creators of today.

In today’s industry, there are more differences in how companies operate than there are similarities. I think it’s refreshing to see these differences. I applaud FutureQuake uniqueness as a publisher.

I’m excited to present to you an interview with three key editors and creators of FutureQuake.  Their line up includes a lot more than just 2000AD centric titles, too. Find out more below!

Joeseph Simon: As a fan of 2000 AD characters I’m happy to have found a company devoted to the creations at 2000 AD. FutureQuake publishes Zarjaz and Dogbreath. Both are comics devoted to the worlds of 2000 AD.

Judge Dredd is just the tip of the iceberg when it comes to the coolness that is 2000 AD. One has to include Strontium Dog, who you happen to devote Dogbreath stories to.  How would you describe 2000 AD and then how would you describe FutureQuake?

Dave Evans: 2000 AD is the source. It is the first comic I read that made me want to read more. 2000 AD is probably best known as the home of Judge Dredd, but it should possibly be more widely known as the ‘birth place’ for Alan Moore, Dave Gibbons, Brian Bolland, Simon Bisley, Dan Abnett… the list could go on. 2000 AD is a home for the finest storytellers to work their craft. The core of 2000 AD has always been its very healthy disrespect for authority. At FutureQuake Press we started publishing our own work but quickly realized that there was a wealth of talent working in ‘Small Press’ that deserved to have their stories seen.

Owen Watts: I think it’s all about giving space to new talent. FutureQuake is a sounding board for people who might otherwise get lost in the notoriously vast 2000 AD ‘slush pile’ of unread scripts and unseen sample art. For me the vital element of 2000 AD as an anthology first and foremost is variety – and in the small press, you have access to boundless new and exciting talent which is what draws me to it.

Richmond Clements: For me, apart from the fun of playing with all these incredible characters, it’s about giving a platform for new writers and artists to practice their craft. We can work with an artist or writer, taking them through many rewrites and getting their work just right in a way that an editor on a ‘big’ comic simply doesn’t have the time to.

JS: From IPC to Fleetway to Rebellion, 2000 AD is always an exciting read. I became a fan during the Fleetway years, but thanks to reprints I admit to loving the early years as well. Dredd was my gateway into 2000 AD. Everything else quickly followed.

Where does your appreciation of the 2000 AD comics begin?

DE: My first prog was 120 (July 1979) and what grabbed me was the cover by Dave Gibbons. The issue boldly proclaimed itself the ‘Big Robot Issue’ and there on the cover was a huge robot with humans held in the palm of its hand. Inside the comic were the traditional five strips, but what pulled me back for the following week wasn’t Judge Dredd; it was the A.B.C. Warriors.

OW: It wasn’t Dredd for me either! Mine was Prog 1218 (Nov 2000) and I fell in love with Henry Flint’s spidery chaos art on Deadlock and Simon Fraser’s bold characteristic Nikolai Dante. 2000 AD had only just been taken over by Rebellion and there was a lot of new things being tried out and that new energy was palpable – it was all really exciting! Then when you find out there’s twenty-three years of back issues to catch up on….

RC: Not saying that I’m old or anything. But Prog 1 for me. I remember seeing the ad on TV and tracking down an issue at the local newsagents.

JS: Rebellion coming into the picture was quite the shocker. I view their dedication to archiving the history of British comics as inspiring.

Speaking of inspiring, what happened that clicked everything into place and made FutureQuake a reality?

DE: FutureQuake grew out of pain and rejection – for Arthur Wyatt. Arthur had been pitching ideas for Future Shocks to Tharg the Mighty (TMO) for a while and had built up a number of rejections. Rather than just let these stories die, Arthur had them drawn by artists he knew through 2000 AD fandom and published the first issue of Future Quake. Arthur produced three issues, and by the third he was already using other writers to help him hit page count for the comic. I was an artist on one of the strips in the third issue, which was a big deal for me at the time (around 2003). After the third issue Arthur moved to the US, and FQ was continued initially by another fan named James Mackay. He hadn’t any experience of putting a physical comic together, but he knew I had, having seen my ‘Whistler’ stories that I put out as a Dogbreath special. He contacted myself and writer Richmond Clements to effectively generate the content for what became FutureQuake 04. We launched in Bristol 2005 and that was it. We have been producing at least one issue of FutureQuake a year since then.

JS: You are not only creating fan based 2000 AD stories for other fans to enjoy the greatness that is 2000 AD. You are opening it up for those same fans to contribute to your comics out of love for these characters.

What do they have to do to be part of this? Let’s say someone submits a story, does it have to have an artist attached? If you’re an artist who loves 2000 AD, but has no story, do you play matchmaker? What is the process from fan to seeing your work in a FutureQuake publications?

DE: This is the part of putting the comic together I’m best at. Scripts arrive, via email, and are initially read by me. If I like it I pass it over to Richmond Clements (Still my compadre in this after all these years) and Owen Watts – my co-editors; to gain their opinion. I am a fair judge of scripts, but comics are a synergistic medium. The whole is always greater than the sum of its parts and I greatly value the advice and opinion of both of these men.

Script accepted – I inform the writer and the script is logged in my spreadsheet ready to go to the artist.

Artists simply need to email us at FQP through any of the email addresses in the comics (they all get forwarded to me) and I’ll get in touch to see what their art is like. Ideally, I want to see sequential pages, but if an artist simply has never drawn a comic strip and wants a go we can help with sample scripts or in some cases actual scripts that are waiting to be drawn.

We have had a fair few strips arrive fully formed over the years, but there is almost always something we want to adjust – be it a line of dialogue or a caption, a panel that doesn’t quite convey the story as well as it could or most likely – poor lettering.

This process applies to all the comics we produce – after all the standards that see FutureQuake enjoy critical success also allow creators working on the other titles to hone their skills with actual results when a comic is published.

JS: The 2000 AD characters must have a great synergy with creative people.  2000 AD itself has launched many careers in the comic industry. Thanks to your own efforts, you have helped launched a few creators into their own careers.

Cullen Bunn, for example, and others started their careers in your comics.  That has to be exciting. You also had Alan Grant, Al Ewing, Charlie Adlard, and others pop up as guests at FutureQuake.

Any surprises from working on these titles?  Have fans shown you new insights to characters you thought you knew everything about? Have any stories submitted about obscure characters or storylines?  Has 2000 AD shown interest in new talent that comes by way of your company and the stories published in your pages?

DE: We’ve been putting out comics for almost 15 years now, with a largely unchanged process. We’ve seen many creators move from Small Press to being working professionals and it never stops being exciting. Recently, with Rebellion expanding into work relating to the vast Treasury of British comics we have seen more than one artist actively contacted following a strip that they have worked on for FQP to work on a strip for Rebellion.

OW: More and more in new creator interviews you see “Zarjaz” and “FutureQuake” pop up in the first paragraphs where they explain where they started working. It’s genuinely amazing.

RC: Speaking to your question about insights into characters, yes. I wrote a Slaine script for Zarjaz a few years back, and it was only then in writing the dialogue between Slaine and Ukko that I realised the complex dynamic between the two characters. Apart from Slaine’s physical bullying of Ukko, there is also the way that Ukko will subtly undermine Slaine and use psychology to get the barbarian to do what he wants.

JS: What are you hoping for in submissions that completes the FutureQuakes goals? What won’t you accept in submissions? While you are from England, do you accept submissions from fans from all over?

DE: For submissions to FQP, be they script or art, we want to see talent. A script needs to be complete, in and of itself with a beginning, middle, and end (and a twist in many cases). Art needs to show a grasp of storytelling; if an artist is inexperienced but has a good grasp of storytelling then working on scripts for us will help them to hone their craft.

RC: I’d also add that if you are submitting to Zarjaz, we get a LOT of Dredd scripts. You’d be more likely to catch our eye if you went for something less obvious. We’ve never had a Dante script submitted, for example.

JS: I always felt Dr. Who has its own identity as a science fiction show, it has its own feel. The same can be stated about the 2000 AD characters.  There is a completely different mindset. 2000 AD characters are unlike anything else in comics. Even more so, each series has its own vibe. As an editor for FutureQuake how do you keep the spirit of 2000 AD in FutureQuake?

DE: I’d say that the spirit of 2000 AD is in everything we do at FQP. The amount of classic Future Shocks, Time Twisters, Terror Tales and even Past Imperfects that have gone before serve to act as guide and inspiration for the type of storytelling we want to present.

JS: There is something wonderful in what FutureQuake is doing. Publications that are devoted to and celebrate other creations can be found in journalism and fanzines. It’s a valuable part if the creative community. Specific to 2000 AD there is a bigger idea that I’ve been thinking about that I’d like to go into.

Many creators at 2000 AD and also at FutureQuake later go on to work at bigger companies in the states. This is very interesting. British creators have innovated and energized the American comic industry.

The comics media has coined this over the decades as the British Invasion.  This also happened in the music industry starting with the Beatles and TV starting with Dr. Who.   I’m keeping within modern times and pop culture. One could easily go back throughout history and discover plenty more examples.

This has been repeated by other countries as well.  Japan with a wide variety of things such as manga an anime. Africa with afro-futurism. Chinas (Hong Kong) action films and current success with science fiction are a few examples.  Each is unique, inspiring and innovative.

Its an interesting, because, it’s hard for those involved to acknowledge that in the moment. The different creators behind these great works, in the moment, don’t realize the impact that they have.

With the internet and the data it brings, this impact can be quantitatively observed and understood to a greater degree. But that’s just raw data.

I suspect, FutureQuake is more intimately knowledgeable about that based on the kind of publisher FutureQuake is.

I said quite a lot with the above statement. As a fan of 2000 AD and as part of FutureQuake, and obviously a fan of comics, what are your thoughts on what I stated?

DE: My thoughts on this boil down to this – around 50 years ago, many of the creators working in the small press today would have been gainfully employed by publishers and working full time making the comics of the day. As the current market for comics has shrunk to what almost amounts to a cottage industry, many of these talents will forever labor at comics around a full-time job, as they provide for their families. FQP; with all of the titles we produce, is determined to provide a facility for writers and artists to learn, gain experience and work to the best level they can. The upside of working on the 2000 AD fanzines is that as the characters are ‘known’ it is possible for a writer to and artist to effectively work on submissions for the comic that need to work within the reality of the strip. That provides other editors with a view of how the writer understands the source material and can still bring original ideas to it.

JS: FutureQuake, of course, is also known for MangaQuake (a Manga influenced anthology) and the horror anthology Something Wicked.  2000 AD science fiction, Manga and horror. It reminds me of a more culturally inclined EC Comics to a degree. This is exciting stuff. I know the company is non-profit, and with that understanding, I am curious if FutureQuake intends on staying small press? Non-Profit doesn’t have to be small. At the same time, I understand wanting to stay small.

DE: The dream. I would dearly love to be able to pack up my day job and allow the love, sweat, effort and dreams of others to fund my life. I spend roughly 20-25 hours a week making comics, real-life allowing and I know that for the effort I expend I would love to have financial recompense. FQP print sales are stable currently, after a few years where none of the books broke even. However it means that currently the non 2000 AD books do not provide free ‘print’ editions to contributors- this is a source of shame personally but I know that the financial knife edge is such that it makes decisions like this essential.

Print runs almost never sell out, and when they do it is currently not financially feasible for me to keep issues in print. We have 15 years of works out there and I do not have the space to keep a comprehensive back catalogue.

Digital sales, via comiXology, (  comicsy (  and now comichaus ( are interesting, as they are slowly providing a source of revenue that can be returned to the creators of the comics. I am maintaining a database of sales and revenues that are generated with an eye on actually passing funds back to creators once the funds reach a level where a payment would be worthwhile. However, even here I’m yet to see a return for a creator reach more than a couple of pounds. Time will eventually allow for this though.

The cover price of a FQP book is £6.50. For this you get around 100 pages of content. This is astounding value in my opinion. A 100 page trade from Marvel or DC will cost you in the region of £15 these days. Zarjaz & Dogbreath both run around 40 pages for £3.00, with a full-color wraparound cover by an actual droid. This hasn’t changed for 15 years, despite price rises in printing. We are proud to be able to produce a quality book – it’s not about making money.

JS: Charlton Neo, Warrant, Indellible are all American companies that are in many ways doing what you are for Charlton Comics, Warren, and Dell Comics.  They are also finding comic greats contributing to their pages and a happy fanbase. In many ways, these publishers and FutureQuake bring back the way comics used to be before comics got too serious in tone and business practice.  Each of the above-mentioned companies have their own way of reaching fans. How do you promote FutureQuake?

DE: FQP promotes by contacting select groups of news sites and bloggers who will provide quick reviews and promote news items. We have our very own blog where I try to keep up with promoting the new issues as they are released as well as cross-posting content from former contributors on books of interest. ( We also mail each and every contributor a digital edition of the book for them to promote on their personal social media platforms. We also try to attend several shows a year, mainly the Thought Bubble convention currently where we get to meet creators and readers.

OW: We’ve recently set up a FQP FB as well – and Dave is active as himself/Futurequake on Instagram ( & Twitter ( We’ve already had some amazing artists contact us through our new FB page –

RC: And also, to blow our own trumpet a bit, we have built up a reputation over the years. We have a proven track record at delivering quality books and people know that. It’s always satisfying to have folks come up to our tables and buy their regular copies of the latest issues.

JS: I used to own a Japanese pop culture store and I am a fan of Manga. Manga spans quite an incredible range of genre as well as writing and art content. Is MangaQuake as wide-ranging or do you focus on a specific type of Manga? With MangaQuake you focus on a longer form of storytelling than the 2000 AD inspired titles?

DE: MangaQuake was a wonderful experiment that for us ran its course. Back when FQP was finding its feet, genre-wise we received a lot of submissions for strips by British Manga creators. We decided that the simplest way to handle these was to give them their own title. MangaQuake ran for 7 issues, which are now collated into 2 digital archive editions available from the digital outlets for a mere £1.49gbp each. They are exceptional value, as each of these collections runs for over 300 pages.

JS: This is a curious question from someone like myself, an American. Both 2000 AD and Manga came over as import comics. In my opinion, both were successful as import and changed American Comics. No doubt American comics had an impact in England. The superhero aspect of America comics wasn’t the only thing that British readers enjoyed.  What other aspects of the American market came through? How do other countries such as Japan take in England? How about Australia? I am also a fan of Australian comics and I have this feeling that there is a synergy between England and Australia.

DE: Due to the wonderful way comics were marketed in the 1980’s, American super-hero comics went from appearing in each and every newsagent across the country to being the province of the specialist store. At the time, as a consumer this was amazing as all the comics I loved, from around the world were available in one place, but over time this has lead to a comics ghetto, where instead of comics being a celebrated mainstream method of entertainment they are seen by many as the province of the ‘nerd’.

Here is the UK there are very few avenues for comics from Australia. I have been lettering a couple of titles that are part of the Australian small press and through that, I have forged links with a shop down there that I am proud to say carries print copies of the FQP books. From the feedback, I’ve had they regularly sell out too, which is great.

OW: Before I read 2000 AD I was addicted to “Marvel Heroes Reborn” which was a British reprint which packaged together three different Marvel comics. Iron Man, Fantastic Four & The Hulk – I used to absolutely love having the three different stories in the one issue… then I found 2000 AD… FIVE stories. Much better! I remember being shocked to find out you’d have to buy those same Marvel comics separately.

RC: I’d echo what Dave has said. Back in the old days, comics were considered worthless. So much so that they were used as ballast in container ships from the US. These books then found their way onto the shelves of local newsagents. I remember picking up random issues of Daredevil, Spider-man and the like. They always ended on a cliff-hanger and you almost never found a copy of the next issue. Then when dedicated comics shops came along, these books disappeared from the local shops entirely. Which I think is a shame – where are the new generation of readers going to stumble upon these characters now?

JS: I’ve mentioned EC Comics and Warren above. Those two styles of horror are pretty varied, but there is quite a lot more for variation out there. What are you looking for in Something Wicked?

DE: Something Wicked is the only title that was completely originated by FQP. In a similar situation to that formed MangaQuake, we were getting a lot of horror submissions for a science fiction comic. The logical answer was to give them their own home. I did try to float the idea of the title being ‘HorrorQuake’ but luckily I didn’t get away with that as Something Wicked is a much better title.

OW: …I dunno I quite like HorrorQuake…

JS: What’s coming up for FutureQuake? FutureQuake being small press isn’t available like Marvel and DC. For those interested, what are the options for people to purchase what you have? How can someone keep in touch with what’s going on with FutureQuake?

DE: The simplest way to pick up the books is through the FQP webshop ( the latest issues are all there as well as the available back issues.

Digital readers can visit comiXology, comicsy and comichaus to devour the digital content in whatever method they prefer.

It is worth noting that Rebellion has asked that Zarjaz & Dogbreath are not for sale digitally. There are stories to be read for free via the blog and comicsy has digital versions of 2 2000 AD specials – Drokk and Stak! That can be purchased.

Several shops around the country carry FQP titles, most notably Orbital of London.

FQP will be at the third Oldham comics day in the north of England in May ( along with an appearance at Lawless (, where FQP are creating a special edition of Zarjaz to act as the convention booklet. The only other event apart from that this year is the Thought Bubble convention in November. That event should see the launch of both Something Wicked 2019 as well as a new Zarjaz too.

Categories: Comic Book Blogs


First Comics News - Sat, 05/11/2019 - 15:10

PORTLAND, OR 05/10/2019 — Image Comics is pleased to reveal a special Mike Mignola (Hellboy) cover for the forthcoming Sea of Stars by Jason Aaron (Southern Bastards, Thor), Dennis Hallum (Cloak & Dagger, Vader: Dark Visions), Stephen Green (Hellboy and the B.P.R.D.), and Rico Renzi (Spider-Gwen), an ongoing series launching from Image Comics this July.

When recently widowed Gil gets a long-haul gig across the universe, he figures it’s safe enough to bring his young son Kadyn along for the ride—that is, until their “big rig” gets bitten in half by a gigantic Space Leviathan! Sea of Stars follows Gil, now separated from his son—with a breached suit that’s venting oxygen at an alarming rate—as he struggles to defy the odds and stay alive long enough to rescue Kadyn. But meanwhile, Kadyn seems to be getting all the help he needs from a talking Space Monkey riding a Space Dolphin… or maybe it’s the strange powers he’s suddenly manifesting…?

As Hallum told Deadline, “Jason and I talked about co-writing a story for years, but our sensibilities are so different it never clicked. He had an adventure story about a little boy swimming through the stars. I wanted to turn it into an ice-truck driver who’s kid goes missing in the arctic. Our brains just wouldn’t line up. Instead of compromising, we decided Stephen could pull off both stories at the same time.”

Sea of Stars is a brand-new science fiction series with all the scope and heart of the The Neverending Story crossed with the imaginative weirdness of Miyazaki and promises an intense, galaxy-spanning adventure perfect for fans of Jeff Lemire and Dustin Nguyen’s Descender.

Sea of Stars #1 Cover A by Green (Diamond Code MAY190023) and Sea of Stars #1Cover B by Mignola (Diamond Code MAY190024) will be available on Wednesday, July 3. The final order cutoff deadline for comics retailers is this Monday, June 10.

Sea of Stars #1 will also be available for purchase across many digital platforms, including the official Image Comics iOS app, Amazon Kindle, Apple Books, comiXology, and Google Play.

Categories: Comic Book Blogs

BOOM! Studios Announces Joss Whedon’s ANGEL: LEGACY EDITION BOOK ONE

First Comics News - Sat, 05/11/2019 - 15:09

Discover The Official Continuation Of The Hit “ANGEL” TV Series in October 2019

LOS ANGELES, CA (May 10, 2019) – BOOM! Studios, in partnership with 20th Century Fox Consumer Products, today announced a new graphic novel program collecting out-of-print and rare stories officially continuing the world of Joss Whedon’s hit television series Angel. Beginning with ANGEL: LEGACY EDITION BOOK ONE in October 2019, BOOM! Studios will collect every issue of Angel from previous publishers in chronological order, including hard to find and out of print stories in the value-priced Legacy Edition format.

Created by visionary writer and director Joss Whedon (Marvel’s The Avengers film franchise), Angel premiered on the WB Network on October 5th, 1999 and was a spin-off from Buffy The Vampire Slayer. The series ran for five seasons from 1999-2004, starring David Boreanaz as “Angel,” the tortured vampire destined to walk the earth with a soul who moved to LA to set up shop as a supernatural private investigator. Despite Angel’s best efforts to deal with the sins of his past all by himself, Angel Investigations soon became home to other lost souls searching for redemption and willing to fight by his side.

Set during Season 1 and Season 2 of the Angel television series, Angel Investigations is dedicated to its mission of helping the helpless…and putting a stop to a seemingly never-ending demon horde intent on destroying first Hollywood, and then the world! This volume features works by the Emmy Award-winning writer of Angel David Fury, New York Times Best-Selling author Christopher Golden, and five-time Eisner Award-winning artist Eric Powell, and is a must-have for long time fans and new readers alike!

ANGEL: LEGACY EDITION BOOK ONE features an all-new cover by Nimit Malavia (Firefly: Legacy Edition).

Angel is one of the most beloved television series of the last twenty years and has an incredible comic book legacy that we’re excited to honor with these collections,” said Jeanine Schaefer, Executive Editor, BOOM! Studios. “Even if you’re a long time fan of the broody vampire-with-a-soul like me, you’re going to find that each volume of ANGEL: LEGACY EDITION contains a story you might never have read – or been able to track down.”

ANGEL is the newest release from BOOM! Studios’ eponymous imprint, home to critically acclaimed original series, including Once & Future by Kieron Gillen and Dan Mora; Faithless by Brian Azzarello and Maria Llovet; Abbott from Saladin Ahmed and Sami Kivelä; Bury The Lede from Gaby Dunn and Claire Roe; Grass Kings from Matt Kindt and Tyler Jenkins; and Klaus from Grant Morrison and Dan Mora. The imprint also publishes popular licensed properties including Joss Whedon’s Firefly from Greg Pak and Dan McDaid; Buffy The Vampire Slayer from Jordie Bellaire and David Lopez; and Mighty Morphin Power Rangers from Ryan Parrott and Danielle Di Nicuolo.

Categories: Comic Book Blogs

Call the PSI-LORDS Tipline!

First Comics News - Sat, 05/11/2019 - 15:07

Find the Psi-Lords! Become an official Starwatcher!

Art by Jonboy Meyers

Is someone you know acting strangely? Exhibiting dangerous supernatural abilities? Are they surrounded by a bright glow? YOU MAY HAVE SEEN A PSI-LORD! Call 833-PSILRDS (833-774-5737) right away to report your sighting to the main Psi-Lords Defense Station—you may even speak live to one of our Starwatchers! Callers will be sent a special gift in thanks.

If you think you’ve spotted a Psi-Lord, here’s what to do!

  1. Dial 833-PSILRDS (833-774-5737).
  2. If you get a voice recording, provide your name, e-mail address, and the name of your local Psi-Lords Defense Station (comic book shop).
  3. If you get a live Starwatcher, stay calm and report your findings. They will be able to take down your information.

An official Starwatchers iron-on patch will be dispatched to those who dial in and leave their information. They can be picked up at the citizen’s local Psi-Lords Defense Station (comic book shop).

Starwatchers Patch

You can follow the efforts of the Starwatchers in PSI-LORDS, a monthly ongoing account (comic book series) provided by the official record keepers (writer Fred Van Lente and artist Renato Guedes, published by Valiant Entertainment). The first record (issue)—featuring the accounts of four, human astronauts—will be available on June 19th (with pre-orders due May 27th).

PSI-LORDS #1 Cover A by Renato Guedes

If you are a comic book shop who wishes to sign up as an official Psi-Lords Defense Station to receive a special poster and help spread the word about the tipline, send a dispatch (email) to Emily Hecht ( right away! You will be signed up to receive an official Psi-Lords Defense Station Pack.

Psi-Lords Defense Station Pack

Be ever vigilant, future Starwatchers!

Categories: Comic Book Blogs

FIRST LOOK- Tarot#118: The Halloween Witch

First Comics News - Sat, 05/11/2019 - 15:02

The Return of Spellarella!

With this Special, You’ll receive Covers A (shown above) & B, the Deluxe Art Print,

CosPlayer Photo Cover, Bonus Mystery Gift and JUST for This Bundle a brand new Faerie Passport Sticker.

Pre-Order NOW for Sept 2019 Issue!

Cover A!

Bundle comes with Skyclad Art print

Bundle includes Halloweeny Holly Photo cover

Check Out The Skyclad Add On!

Tarot#118 ships late Sept 2019- and some skyclad edition Oct 2019

Categories: Comic Book Blogs


First Comics News - Sat, 05/11/2019 - 00:43

PORTLAND, OR 05/10/2019 — Image Comics is pleased to reveal a first look at the highly anticipated new cyberpunk adventure series Thumbs, by award winning playwright and comics writer Sean Lewis (Coyotes, Saints, The Few) teams up with award winning artist Hayden Sherman (The Few).

The break-neck paced technology thriller is a must-read book perfect for readers of Christopher Sebela, Ro Stein, and Ted Brandt’s 2019 Eisner nominated series Crowded or the buzzworthy Netflix phenomenon, Black Mirror. Thumbs #1 hits stores on Wednesday, June 5 and boasts a total of 40 pages per issue.

Imagine someone like, say, Mark Zuckerberg created his own army of tech-obsessed teens and directed them to take on the government. What would the fall-out be? Thumbs explores a high-stakes world where that—and much worse—can unfold. Charley “Thumbs” Fellows is a member of just such an army. Poor and raised by the influential MOM™ app, he finds himself in the center of a war.

Thumbs #1 (Diamond Code APR190011) will be available on Wednesday, June 5. The final order cutoff deadline for comics retailers is this Monday, May 13.

Thumbs #1 will also be available for purchase across many digital platforms, including the official Image Comics iOS app, Amazon Kindle, Apple Books, comiXology, and Google Play.



Categories: Comic Book Blogs


First Comics News - Sat, 05/11/2019 - 00:41

(New York, NY) – Eaglemoss Hero Collector, designers, manufacturers and publishers of high-quality collectibles across the many worlds of pop culture, have announced a partnership with WWE celebrating past Legends and current Superstars with the new WWE Championship Collection.

Designed to surpass the expectations of the passionate WWE Universe, the WWE Championship Collection includes comprehensive magazines with statues showcasing some of the greatest Superstars and Legends in WWE history including The Rock, John Cena, Triple H, Undertaker, Ronda Rousey, AJ Styles, Charlotte Flair, Stone Cold Steve Austin, Becky Lynch and many more.

Each 16-page magazine delivers a history of the featured Superstar, detailing their championship reigns, greatest matches and top rivalries. The accompanying polyresin statue has been produced at 1:16 scale (approximately 4-1/2 to 5 inches tall), is expertly sculpted and painted, presenting the Superstar in an iconic pose on a line-look base.

Subscribers to the collection at will receive AJ Styles as their first magazine and statue combination. Following that, two new magazine and statue combinations will be delivered each month. Subscribers are also eligible for special offers, including a free WWE display ring.

Fans can also go online to the Eaglemoss Shop to purchase magazine and statue sets individually at standard prices.

Categories: Comic Book Blogs


First Comics News - Sat, 05/11/2019 - 00:36

Jughead has had a lot to deal with since going all “Full Moon”. Betty Cooper werewolf hunter, Reggie Mantle werewolf pack… even a Frankenmoose. But has any of this prepared him for Vampironica? Or the horde or vampires that are invading his reality with her? Nope!
Script: Frank Tieri
Art: Pat and Tim Kennedy, Joe Eisma, Bob Smith, Ryan Jampole, Matt Herms, Jack Morelli
Cover: Pat and Tim Kennedy, Bob Smith, Matt Herms
Variant Covers: Dan Panosian, Darick Robertson
On Sale Date: 6/5
32-page, full color comic
$3.99 U.S.

Categories: Comic Book Blogs


First Comics News - Fri, 05/10/2019 - 21:51

The greatest talent ever assembled for one story coming this August!


New York, NY—May 10, 2019— As Marvel honors its 80th Anniversary this year, Marvel announced a new epic comic book issue to celebrate the legacy of the Marvel Universe: MARVEL COMICS #1000!Featuring 80 creative teams with luminaries from both classic and current comic books (and beyond!), this oversized one-shot will be packed with pages spanning across generations of Marvel’s iconic Super Heroes – with cover art from legendary artist Alex Ross!

As the Marvel Universe reaches new heights around the globe, MARVEL COMICS #1000 serves as a testament to the world of characters and stories that have captured the hearts of millions of fans – whether they’ve followed Marvel for years or are just getting started. Anyone will be able to pick up this book and dive right into the Marvel Comics Universe!


Al Ewing, writer of the critically-acclaimed Immortal Hulk series, will be the primary writer of MARVEL COMICS #1000, framing the overall structure of the book.


“There are so many threads in this mystery, so many different parts of Marvel you’ll find secret connections,” Ewing told THIS WEEK IN MARVEL. “There are a lot of synchronicities and echoes in this, and threads between all of that.”


“This is by far the most complex and complicated and difficult book I’ve ever had to assemble,” SVP and Executive Editor Tom Brevoort told The New York Times, speaking to the historic unprecedented scope of the story.


Also speaking with the Times, Editor-in-Chief C.B. Cebulski described how the buzzworthy creative teams were cast – especially with talents outside of comics: “Our characters are mentioned in so many different ways and in so many different mediums and we always keep track. Now these distinguished individuals are able to contribute back to the comics they grew up on.”

Among those individuals, some of whom teased the project on social media this week, are long-time Marvel veterans — including Roy Thomas, Peter David, Gerry Conway, and Adam Kubert — and current creators — including Saladin Ahmed, Gail Simone, Chip Zdarsky, and Kris Anka — as well as talents outside of comics, like filmmakers Phil Lord and Christopher Miller, Taboo of the Black Eyed Peas, and basketball legend Kareem Abdul-Jabbar

Categories: Comic Book Blogs


Subscribe to Furiously Eclectic People aggregator - Comic Book Blogs