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X-Men: Regenesis > Choose Your Team

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After the cataclysmic events of X-Men: Schism, all of mutantkind will be forced to make the biggest decision of their lives. What team will you choose?

Join the conversation on Twitter with #XMenRegenesis!

WOLVERINE & THE X-MEN #1 (AUG110653)
Written by JASON AARON
Art & Cover by CHRIS BACHALO
Variant Cover by NICK BRADSHAW
FOC – 10/3/11, ON SALE – 10/26/11

X-MEN LEGACY #259 (SEP110604)
Written by MIKE CAREY
Art by KHOI PHAM
Cover by CLAY MANN
Variant Cover by NICK BRADSHAW
NOVEMBER 2011

UNCANNY X-FORCE #19
Wrtten by RICK REMENDER
Art by ROBBI RODRIGUEZ
Variant Cover by NICK BRADSHAW
DECEMBER 2011

X-FACTOR #230
Written by PETER DAVID
Art by EMANUELA LUPACCHINO
Variant Cover by NICK BRADSHAW
JANUARY 2012

UNCANNY X-MEN #1 (SEP110591)
Written by KIERON GILLEN
Art & Cover by CARLOS PACHECO
Variant Cover by DALE KEOWN
NOVEMBER 2011

GENERATION HOPE #13 (SEP110610)
Written by JAMES ASMUS
Art & Cover by IBRAIM ROBERSON
Variant Cover by DALE KEOWN
NOVEMBER 2011

X-MEN #20 (SEP110600)
Written by VICTOR GISCHLER
Art by WILL CONRAD
Cover by ADI GRANOV
Variant Cover by DALE KEOWN
NOVEMBER 2011

NEW MUTANTS #33 (SEP110607)
Written by DAN ABNETT & ANDY LANNING
Art by DAVID LOPEZ
Variant Cover by DALE KEOWN
NOVEMBER 2011

Brutal New Poster for Frank Miller's Holy Terror

Posted by Frederik Hautain on Aug 19, 2011 at 08:14

Legendary Pictures has shared a new poster for Frank Miller's Holy Terror graphic novel, shipping in September. The onslaught is coming... resistance is brutal, punks!

Oh yeah, and you can watch the trailer here if you still haven't seen it.

More Gorgeous Preview Pages from Rob Davis' Don Quixote

Posted by Frederik Hautain on Aug 19, 2011 at 07:42

Quite soon after we posted an exclusive preview of Rob Davis' upcoming adaptation of Cervantes' Don Quixote this morning, the pages drew some good comments on Twitter. Duncan Fegredo, for one, thinks it looks like fun and has already ordered a copy, Jamie Smart calls it a must read and Joe Keatinge has already tabbed the book as a future Eisner Award winner.

Here are a few more pages to whet your appetite in advance of the September 8 release through Self Made Hero, along with a few quotes from Davis on the creation process.

On the enduring appeal of Don Quixote:

"I wanted to capture the spirit of Cervantes’ original as honestly as possible – I didn’t want a whiff of ‘classic’ literature hanging around. My aim was to provoke the same reaction from readers today, as the original novel did when it was published: it’s a funny book, it has to make people laugh."

On bringing Cervantes’ story to life in comicbook form:

"A graphic novelisation is an opportunity to make a 400 year old book live again for new readers. If I’ve exploited the comic medium well, as well as Cervantes used prose, then the story should feel ‘alive’ for new readers.

Quixote is all about the page coming to life, whether that’s the fantasy world that comes alive in Quixote’s mind, the way Don Quixote and Sancho Panza come alive to us as characters or the way Cervantes brings himself alive as narrator."

On the use of colors in the book:

"Truth in colour is never absolute, but it is always the job of the artist to lead the viewer closer to truth through the imagined.

In adapting Quixote as a graphic novel I wanted the graphic elements to serve the themes of the book. Colour became one of those elements and I began to use simple palettes to bridge between fiction and reality. A story told round a campfire appears all in green, in contrast to the orange of the fire scene, but as the events in the story merge with the events in novel so the two palettes merge."

The Dredd, the Bad & the Ugly

Posted by Bart Croonenborghs on Aug 17, 2011 at 06:30

BRITS ON TOP! Just what makes Dredd's cloned steel heart  tick in a British Big Ben kinda way?

I first met Dredd when he was bringing the law to the Cursed Earth in the legendary The Cursed Earth epic, the first multi-part epic of Judge Dredd's adventures in the 2000AD magazine. Not being either British or American but a culturally sound young Belgian, fed on a steady diet of Yakari, The Bluecoats, Lucky Luke etc. (if you have no idea of what I'm speaking of I gently nudge you in the direction of Cinebook) the steelfaced jaw of Dredd was rather shocking to this young man's rather clean and polished outlook on comics. And almost as shocking as Dredd's tales were the visuals of Mike McMahon: gritty, chaotic and to be perfectly frank ... rather dirty!

Though purists would tend to say that the early Dredd by Pat Mills is significantly different from John Wagner's Dredd, the co-creator and supreme chronicler of the Life of Dredd, my 12 year old eyeballs nearly popped out of my head anyway, and it seems I never recovered.

A blast from the past : in Dutch, The Cursed Earth epic was
published by Junior Press in chunks of 32 pages.
 

Joe Dredd, lawman of Mega City in a future where the earth has been nuked and people reside in cities that grew to the size of the Eastern Seaboard, represents at his best a satirical outlook on today's world of Man (and Woman, Dredd is an equal justice dispenser, a perp is a perp). At his worst, it is a solid piece of straightforward hardcore sci-fi action. Dredd is civilization's drive for order personified, a natural force of man's need for organization, for equality for all driven to such an extreme height that the absurd trickles in on the edges and firmly plants the seed of satire.

A classic scene from the Judge Death epic, drawn by Brian Bolland.
 

And here is the secret: it is all played with a straight face. Even Dredd's nickname is "ol' stony face". And what race of man exists that has given us the pure unadulterated glory of Monthy Python's Flying Circus, Spitting Image, Blackadder and That Was the Week that Was :the Brits of course, pip pip! A race of beings that, in the face of genocide will spit out 'Bad show, wot?' and light their pipe staring intently at the horizon, pondering whether or not tea time is right around the corner.

As good old sir Winston Churchill has said
It has been said that democracy is the worst form of government except all the others that have been tried.

I'm sure Dredd would wholeheartedly agree. 

Well, there you have it you bleeding heart liberals. I gave away Dredd's big secret, I just hope I haven't broken any laws while doing it.

A special extra bonus splash from Brendan McCarthy. Click to enlarge.
 

Britain and its Weekly Serials

Posted by Bevan Thomas on Aug 15, 2011 at 14:00

It's amazing the things you can find in the comics section of the library. Just the other day, I was reading through a collection of Dan Dare, the science fiction adventurer who a few decades ago had been prominently featured in both the Eagle, a British comic magazine for young boys, and 2000AD, a British comic magazine for older boys. Reading through one of Dare's serials, with every two pages a separate instalment, reminded me that Britain follows quite a different model for comic books than North America does.

With most North American comic books, each issue is an individual character's story. You buy an issue of Amazing Spider-Man, and get a story about Spider-Man; you buy an issue of Hellblazer and get a story about John Constantine. With British comics, it is usually different. 2000AD, Eagle, Warrior, Beano, Dandy, even Daredevils, which was Marvel UK's primary comic for a while, are all weekly magazines that contain a whole series of comic stories, many of them instalments in longer serials. You buy an issue of, say, 2000AD and get a five page Judge Dredd story, maybe a five page “Future Shock,” and then an instalment of three or four serials. This is a very different experience than picking up a monthly comic book about a single character. You're getting less of each story, but you're getting more stories more frequently.

The experience is not unlike reading an extended version of a newspaper's comic strip page. In both circumstances, you are getting a series of comics pretty frequently and you are experiencing one after another after another. On a newspaper page, you move from “Dilbert” to “Doonesbury” to “Garfield,” in an issue of 2000AD, you move from “Judge Dredd” to “Nikolai Dante” to “Robo-Tales.” You are reading many comic stories together, as opposed to just one, which means you encounter a wider variety of stories than you otherwise would read and can experience numerous perspectives at once.

I'm not certain why Britain took to this kind of comic book model in a way that North America didn't. Perhaps because comics were an import, they ended-up adapting the medium to a model more similar to newspaper strips, an environment Britain was already familiar with. Perhaps it was something else. Whatever motivated them, the weekly serialized anthologies remain their favored format, one very engaging in its own way. I love to flip through an issue of 2000AD and see a wide variety of stories, all there for me to experience.

Chicago Comic-Con 2011 Photo Gallery

Posted by Eric Lindberg on Aug 13, 2011 at 23:36

Broken Frontier shares photo highlights of the 2011 Chicago Comic-Con.

More

#Womanthology Raises $109k through Kickstarter - What Will They Do With All The Money?

Posted by Frederik Hautain on Aug 11, 2011 at 16:07

Update: After I wrote this blog entry, Renae De Liz has posted a new entry on the Womanthology blog to explain how the funds will be used: creators aren't getting paid (all work is volunteered) and what's left will go to charity.

The Kickstarter campaign for the much talked about Womanthology project is now over. In 30 days, the project raised a whopping $109,301 dollars, way more than the original goal of $25,000. Waaaaay more.

In short, Womanthology is a 300-plus page hardcover book with contributions from published and unpublished female comics creators. It will be published by IDW on December 7, though that date is not set in stone.

Because of the high amount of money raised, and because the book already has a publisher in IDW – and subsequently, distribution – the question is what are they going to do with all the money? At first, they wanted to do a print run of 1500 copies, for which they needed most of the $25,000 they were initially looking to raise. Let’s say they now double their print run to 3,000 copies, that still leaves about $60k on the table. Hopefully, a huge chunk of that sum will go to the 140 creators involved so they invest it in future creator-owned work of their own.

There’s been a short and interested back and forth going on at The Beat between cartoonist Dustin Harbin and Heather, one of the contributors to Womanthology. And today, Eva Hopkins (Dawn, Dark Ivory) chimed in as well.

Here's a rundown of the most interesting quotes:

Harbin:

[...] With a chance to pay 140 female creators of varying experience levels for their work–for a lot of people, getting that first freelance check is what makes the idea of a career viable to them, and pushes them to make more and better work. Here is a chance to generate goodwill for an obviously popular project, but more importantly to create dozens of new female creators with checks in their hands.

Hopkins:

I’ve seen printer bills from big glossy oversize trades which my former work partner & I had published w/ Image. So I’ve a rough idea of percentages in mind. There’s gonna be a PILE of cash left over, especially if the organizers are smart about what printer is used. [...] This project can afford to do more than it set out to do. I sincerely hope that even if it’s a nominal amount, & there’s also lots of comps copies, that the creators receive some form of compensation if possible.

Heather:


I am a contributor to the Womanthology. Even more than that, I am a never-been-published writer. As far as I know, none of us are going to be getting paid, and none of us have brought it up before. The way this is going to work is that any extra funds from the Kickstarter basically helping creators get paid work. The book itself is our “foot in the door” to the paying jobs, and so will the other books. The actual profits from people buying the book are going to the Global Giving charity. That was something that was brought up from the start and we all agreed upon it. I don’t think making an actual profit crossed anyone’s mind at any point. We’re all more concerned with changing the whole dynamic of comics, not just for women but for all creators.

That last sentence is what it’s all about in the end. Renae De Liz, who spearheads the Womanthology initiative, should be commended for pulling this off and giving woman creators a boost. Hopefully, this first edition will be the start of something much, much bigger. The idea De Liz had about putting together a CHANCE label to get more creator-owned books in the market ties in very with my own idea, The Diversity Initiative.

The Tale of Buddy Scalera and The Stubborn Librarian - Or How Libraries Shouldn't Be Treating Comics

Posted by Frederik Hautain on Aug 11, 2011 at 16:05

Comic critic and author of several ‘how to’ books on comics creation, Buddy Scalera, has shared an equally funny and disillusioning recount on how he tried to get one of his first books, Comic Artist's Photo Reference: People & Poses, into his local New Jersey library.

The only roadblock? A stubborn librarian who thought comics were for kids and didn’t see the point of adding a book on creating comics, even though it was coming out from a major publisher and was written by a guy who was living in the local community for 27 years.

Me: “Is there anyone else who can help me with this?”

Librarian: “I can refer you to Jane [name changed]. She works in our Young Adults section.”

Me: “How is this book a Young Adults book?”

Librarian: “We put comic books in Young Adults because adults really don’t read comics.”

At this point, the conversation sort of spun into a long discussion of how reading comic books makes her “tired.” The pictures and words together seem to wear her down, since you have to look for word balloons, etc.

I tried to get the conversation on track because — as I noted — my book wasn’t a comic book. It was a book for people who wanted to work in comic books. Of course, that particular librarian wouldn’t have known that because she literally didn’t want to see the actual book.

I’m guessing that maybe this was an old-school librarian who didn’t see the value in this topic. I’ve actually had a lot of luck with librarians, since they usually can recommend pretty good reading materials, especially in new fiction.

Luckly, things ended well. The library added the book after all and started to increase its comics and graphic novel collection.

Do you have a story on how your library is treating comics? Sound off in the comments section below!

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