NYCC Report: So Where Do You Get Your Ideas? And What Do You Do With Them?

I don’t know if you’ve noticed, but I’m kind of fond of Godzilla. The big guy has been a part of my life for a very long time and so, when I heard there was a sixtieth anniversary panel at New York Comic Con, I rushed to the back of the line.

Unfortunately, the king of the monsters didn’t receive a kaiju-sized room and I found the panel woefully overfull. It was the first of a number of instances where the limitations of the Javitz Center became apparent this year, but, while I would have loved to talk Godzilla with all of you, it turned out to be quite a fortunate bit of bad luck.

Dashing back to the room I’d just given up a spot in, I managed to find a great seat for one of the more interesting panels of my 2014 Comic Con experience: So Where Do You Get Your Ideas? And What Do You Do With Them?

“The question is not really ‘where do you get your ideas’,” moderator Heidi MacDonald told us, “everyone has ideas. The question is what do you do when you get that idea.” On hand to answer that question were Eisner Award-winning writer/illustrator Becky Cloonan; Batman writer and general comic book superstar, Scott Snyder; Bryan K. Vaughan, the brilliant madman behind such favorites as Saga and The Private Eye; and actor/writer, Amber Benson.

MacDonald’s first question was for Snyder: what was it like to get offered Detective Comics? Terrifying, replied Snyder. Surprising as it may sound in hindsight, Snyder’s acclaimed Batman debut, “The Black Mirror”, was intended to merely be the backup in Paul Dini’s Detective Comics run. Unfortunately Dini encountered time constraints and had to leave the book. Left without a headliner, DC called Snyder in to offer him the job. It was nerve-wracking, Snyder recalled, “I thought I was going to get fired.”

Intended as a backup, “The Black Mirror” made a startling debut thanks to Snyder being in a perfect position to appreciate the huge shoes Dick Grayson was being asked to fill.

Confronted with just about the opposite of what he was expecting, Snyder still had a case of nerves, worried that his story wouldn’t live up to Detective Comics’ lofty history. Nonetheless, after thinking about it for a minute, he eagerly accepted.

It was somewhat unclear whether this discussion took place before Dini moved to Streets of Gotham or if he was planned to return to Detective Comics, but given the numerous fill-in writers on the prior series and the overwhelming response to “The Black Mirror” and “Batwoman: Elegy”, I find myself in the odd position of thinking that it was for the best that Dini limited his output.

While Snyder was also working on American Vampire, this was some of his earliest licensed comic work. With licensed characters, Snyder told the crowd, it can be a challenge to make the story personal – much the opposite of creator owned work, where you struggle to give it enough mass appeal. In stepping into some of the biggest shoes in comics, Snyder embraced the similar position of his protagonist: then Batman, Dick Grayson. He contrasted the difference between the two Batmen. “Bruce is all, ‘I’m Batman.’ But Dick was, ‘Hey, I’m Batman!’”

Snyder admitted that he’s his own worst critic and that that’s inured him to outside critique pretty well. He also spoke briefly about the importance of that part of himself in writing the self-critical Grayson. For Snyder, it’s not worth writing Batman if you’re just going to tell a mediocre story, you need to have something to say. In the case of “The Black Mirror” he found his angle on the story, but he cautioned any writers out there against taking an assignment, even a career-making assignment, if you don’t have something unique to say about it.

Amber Benson was quick to admit that she wrote a lot of goth poetry in high school but never took her aspirations of writing much farther when she was young. That said, working as an actor, she had plenty of opportunity to be inspired by writing and eventually succumbed and tried it herself with a story in the Buffy The Vampire Slayer comic series. Liking the process, she sought out more projects, eventually being put in contact with Ben Templesmith. The result was Shadowplay.

Benson also spoke about Ghosts of Albion, a transmedia project that includes short films, prose, and even a tabletop RPG. While there is no comics component as of yet, Benson said that working in animation had a very similar feel to her.

Unfortunately, before she could be asked another question, Benson had to run to another panel.

This spider, the symbol of the titular Killjoys, was created for the original announcement of the series back in 2009, but it would be another four years before it, or the Killjoys, would grace a comic cover.

NYCC Report: Women of DC Entertainment

New York Comic Con was, to my knowledge, a vastly improved convention in regards to its treatment of women. The addition of an explicit non-harassment policy, the presence of Geek Girl HQ, frequent reminders about consent, and a general tone of increased sensitivity showed that the convention was making an active effort. Nonetheless, comics remain an undeniably unfriendly field for female fans and creators alike and likely will until the companies themselves make gender equality the industry norm.

In a promising step, NYCC 2014 marked the first convention where DC and Marvel both held panels focused on the role of women in comics. DC was first, assembling a table of talented writers and artists.

“This is our world,” said moderator Amanda Salmons. Salmons, the owner of Muse Comics and Games, said that the women in comics panels always held tremendous potential in her eyes, but tended to encourage panelists to put words in others’ mouths and focus purely on the negative. Instead she opted to give fans a chance to hear from female creators, the way they always have from men in the industry.

NYCC Report: Women of Marvel

In regards to its treatment of women, Marvel has oscillated between praiseworthy acts and deeply disheartening lapses of late. Ms. Marvel continues to dominate the sales charts but the choice of artist on the new Spider-Woman series left many women skeptical, all the more so when a variant cover by Milo Manara was announced.

Despite their uneven record, the House of Ideas spared no expense for their Women of Marvel panel. The panel was the single most massive that I’ve ever seen, with sixteen women sharing the stage.

Led by Kelly Sue DeConnick, the packed room and crowded stage constituted an all out assault on the erasure of female comic fans. Following a small giveaway to Captain Marvel and Ms. Marvel cosplayers, DeConnick called for all the women in the audience who read comics to raise their hands. Seeing the sea of hands, she casually declared the discussion of how to get girls to read comics over. “Girls have always read comics!” She then asked all the women looking to work in comics to stand up, calling upon them to look out for one another and to hunker down and do the work. “The only way out of the woods is through. Be brave, do it. We believe in you!”

NYCC Report: Death of Wolverine – The Logan Legacy

With Wolverine due for execution this Wednesday, the entirety of the Marvel universe, which has increasingly come to depend on the ol’ canucklehead, is preparing for a drastic change. How will Marvel’s world be changed? How will those closest to Logan react to losing the one person they thought would be there forever? Marvel is counting on our interest in those questions. And so, on Saturday, Marvel assembled the architects of its X-Men line for the “Death of Wolverine – The Logan Legacy” panel.

Moderated by X-Men group editor Mike Marts the panel included Death of Wolverine and Wolverine and the X-Men editor Katie Kubert; Jordan D. White, editor of All-New X-Factor and Deadpool; Gerry Duggan, author of all manner of Deadpool craziness; Charles Soule, apparent human dynamo and the mastermind writer behind The Death of Wolverine; X-Men architect and writer of Uncanny X-Men and All-New X-Men, Brian Michael Bendis; Peter David, the writer of All-New X-Factor; and Storm writer, Greg Pak.

The first title the panel addressed was All-New X-Men. The current storyline sees the time-warped heroes venture even farther from home as they team up with Miles Morales in the Ultimate Universe. Bendis told the crowd that issue #36 will pit the team against the current Ultimate X-Men and will feature a couple of particularly interesting match-ups. He promised a showdown between X-23 and Jimmy Hudson, their respective universe’s truest child of Wolverine, as well as important interaction between Jean Grey and her Ultimate counterpart. “Jean meets a Jean that’s more like her than the Jean in the Jean Jean,” Bendis said with a laugh. He’s not wrong either. The young Jean Grey of All-New X-Men is much more similar to the fiery, short haired Ultimate Jean than the red haired angel that hung around 616.

SENYC Report: Reimagining the Female Hero

Following Marvel’s Next Big Thing, room 1E19 was turned over to a very different sort of panel. At once more important but less serious, Reimagining the Female Hero was my favorite panel at Special Edition: NYC and, judging from the reactions I’ve seen, I get the sense I wasn’t alone in that.

In a stark inversion of horror stories from previous conventions where feminist panels were trolled by attendees waiting out more traditional fare, I noticed many fans sticking around from The Next Big Thing. In fact, despite taking place in the same room as DC and Marvel’s offerings, the panel gave us reason to hope and easily held its own in terms of attendance.

Of course, it didn’t hurt that the panel had some pretty excellent creators. The line-up included Jenny Frison, a talented cover artist for series including Revival and Red Sonja; Emanuela Lupacchino, the artist on DC’s Supergirl and the Superman: Lois Lane one-shot; Marguerite Bennett, the writer of Superman: Lois Lane and Batgirl #25 and #30; Gail Simone, feminist icon and writer on Batgirl; and Amy Reeder, the artist behind Madame Xanadu and Rocket Girl, who arrived from her dedicated panel a short while into the discussion.

It’s also worth mentioning that the panel had an excellent moderator in the form of Professor Ben Saunders of the University of Oregon. While I hesitate to devote too much praise to the only man involved with the panel, Professor Saunders did an excellent job of keeping the focus on his panelists, encouraging their relevant digressions, and recognizing their celebrity while keeping the mood light yet respectful.

In short I left the room with a greater respect for everyone involved.

SENYC Report: DC Comics – Batman 75th Anniversary Panel

DC really only had one big panel at SE: NYC but Batman’s 75^th anniversary is certainly nothing to scoff at. On Sunday, DC VP of Marketing John Cunningham hosted a panel with some of the most interesting voices currently writing in Gotham, providing hints about what’s coming for the Bat-family and an exploration of what makes Batman such a special property.

The panelists included Gail Simone, the definitive Batgirl writer in many minds; James Tynion IV, one of the key minds behind the flagship Batman: Eternal; Greg Pak, who writes Batman/Superman; and Francis Manapul, co-writer for Detective Comics.

SENYC Report: Marvel – The Next Big Thing

Marvel came out in force for Special Edition: NYC. Though they easily flattened the competition when it came to number of panels, this was the one to see if you wanted to know what was coming from the House of Ideas.

The panel was moderated by Senior VP of Publishing Tom Brevoort and featured a slew of top name talent. This included Senior X-Men Editor Mike Marts, fan favorite writer Peter David, Storm writer Greg Pak, and Deadpool editor Jordan D. White. There was even a surprise guest in the form of Katie Kubert, the former editor of Batman and Detective comics who had announced her departure from DC less than twenty-four hours before!

Comixology Summer Reading List – News

Did you like Free Comic Book Day? Well, here’s has an event similar to that, but for almost a month… Comixology is offering 20 days of free comics, releasing a new comic each day starting Monday, May 26th. Each day will be a surprise release, but you can see a calendar of links so far here on their Tumblr. Comixology will also allow you to Gift each free purchase.

The first comic is Detective Comics #871, featuring part 1 of Scott Snyder’s Black Mirror storyline. We recommend picking it up!

 

C2E2 Report: Marvel – The Next Big Thing

 

 

Not to be outdone, Marvel had me scrambling out of the Batman panel to secure a spot in Marvel: The Next Big Thing. While the X-Men, Spider-Man, and Batman still rule the roost, Marvel’s made huge strides with some of their less famous characters lately and this was the place to hear about it.

Nick Lowe, our moderator and editor of Spider-Man and Moon Knight, took a moment to thank the Chicago fans before introducing the panelists. The first was Mike Marts, an Executive Editor, newly returned from DC’s Batman office. Lowe asked him what it was like to be back. Marts replied that it felt like slipping on an old shoe. Lowe was not entirely thrilled with the analogy, leading Marts to amend his statement, “A shoe that makes a lot of great movies.” Next up was Joshua Hale Fialkov, the writer of Ultimate FF. After him came Charles Soule, the writer of Thunderbolts, Inhuman, and She-Hulk, the last of which received particular applause. Then came James Robinson, writer of Fantastic Four and All-New Invaders. A trio of artists rounded out the panel; Mahmud Asrar, Wolverine and the X-Men; Ryan Stegman, Wolverine; and Skottie Young, both writer and artist on Rocket Racoon.

C2E2 Report: Tim Seeley – Matters of Life and Death

Tim Seeley has been making waves for a long time with creator owned series like Hack/Slash and Revival but recently he’s begun commuting to Gotham City to write Batman: Eternal and Grayson for DC. A skilled writer and a talented illustrator, Seeley is a prolific creator, drawing covers for numerous companies and penning clever, often unsettling, scripts month after month.

With so many interesting projects on his plate, I knew it would be worth my while to seek Seeley out at C2E2, in his hometown of Chicago. Tim was kind enough to speak to me during his live sketching session, the results of which you can see in this article. Read on to hear about Seeley’s process, his thoughts on death and horror, and comics like Revival/Chew, “The Body”, and Grayson.

C2E2 Report: Justin Jordan – At the Crossroads of Capes and Horror

 

Justin Jordan once described his breakout series, The Strange Talent of Luther Strode, as being a story “about a geek who thinks he’s becoming a superhero when he’s really becoming a slasher.” Perhaps its fitting that ever since he’s been playing with the conventions of superhero comics, introducing elements of science fiction, dark fantasy, and horror to series like Team 7, Shadowman, and Green Lantern: New Guardians.

Despite a nasty cough, Mr. Jordan made some time to speak to us on the tail end of C2E2 and gave some fascinating insights to a couple of his most notable projects. Enjoy the interview and join me in wishing him a full and speedy recovery.

C2E2 Report: DC Comics – Batman

Saturday was a big day for this year’s C2E2, with a lot of DC and Marvel’s biggest panels taking place. Besides entry in the morning, the longest line I saw all weekend was for this panel. Hundreds of fans filed through the doors of the convention’s largest panel space, and with good reason.

As things got started, John Cunningham, DC’s Marketing VP, introduced us to our panelists: James Tynion IV, former writer of Red Hood and the Outlaws and Talon and an architect of Batman: Eternal; Scott Snyder, writer for Batman, lead writer for Batman: Eternal, and all-around Batman superfan; Jason Fabok and Dustin Nguyen, the two artists for Batman: Eternal; Patrick Gleason and Peter Tomasi, the artist and writer, respectively, on Batman and _____; and Jim Chadwick, an editor with DC’s digital division who works on Batman ‘66, among others.

Cunningham started by reminding us that this year is the 75^th anniversary of Batman and promised a slew of celebration, most clearly embodied in a “Batman Day” sometime this July. He also mentioned the two animated shorts commissioned for the anniversary and, as a thank you, revealed that we’d be screening them before the panel began.

Unfortunately there was some technical trouble, kicking off a friendly rivalry between Cunningham and the people running the projector.

Unable to resolve the problem immediately, we turned to the comics.

The first book mentioned was Grayson, which received a warm reception, but just as quickly as it was brought up, Cunningham informed us that he couldn’t talk about it yet. Instead Scott Snyder took the opportunity to enlist the audience in a campaign to make sure that DC used the slogan that he and the other writers had come to love, “You think you know Nightwing, but you don’t know Dick.” It seemed to take off with the fans. DC had actually published the line in the Grayson #1 solicit a few days earlier, but after this panel I’m sure they were pleased that they went ahead with it.

Next on the docket was Batman and Scott Snyder’s “Zero Year” storyline, which has just entered its final phase, “Savage City”. Snyder, ever eager to share with the fans had thrown in a couple of extra slides into the presentation as a thank you. “You guys are our bosses,” he said, quoting a sentiment that drives he and Greg Capullo’s work on the title.

C2E2 Report: Wolverine – 3 Months to Die

 

Though I didn’t plan it this way, my final panel of C2E2 was Marvel’s Wolverine: 3 Months to Die. And while I regret not being able to see a couple of the later panels, I can’t say that it was a bad note to go out on. Full of interesting questions and big announcements, it was definitely one of the most exciting panels of the weekend. And so with that in mind, I’ve decided to skip ahead and write about it early.

Before beginning, Mike Marts warned us that, “in true Marvel fashion you should stay till the end of the credits. And on that ominous note he introduced our panelists, Charles Soule, writer of nearly everything including The Death of Wolverine and Thunderbolts; Jason Latour, writer of Wolverine and the X-Men; Russell Dauterman, the artist on the upcoming Cyclops ongoing; Jordan White, the fantastically mustachioed editor of Deadpool and Thunderbolts; Mahmud Asrar, the artist on Wolverine and the X-Men; and Greg Pak, who might have seemed a strange addition to those who had not yet heard the rumors.

The panel started with Dauterman, who was unequivocal in his glee and honor at being invited to work on Cyclops alongside Greg Rucka. Dauterman attributed much of his love of the X-Men, Marvel, and comics to X-Men: The Animated Series. With an impish gleam in his eye, Jordan White immediately leaned forward and invited us to take part in a ukulele sing-along of the show’s classic theme song, despite its lacking any discernible words. Unfortunately the internet has thus far failed in its basic purpose by not providing a video of the event, though a quick search can probably turn up video of other instances. Regardless, take my word that it was extremely well received.

Marts then turned to Wolverine and the X-Men. He asked Mahmud Asrar who his favorite character to draw was. Asrar had trouble with the question, saying that they’re all growing on him, but settled upon Storm. Latour mentioned that the series has been juggling quite a bit but that we’re getting to the point in the opening arc where things start to fall.

Then Marts pulled up the covers for Wolverine 8-12, the titular “3 Months to Die” storyline, one at a time. I imagine the reaction was just about exactly what Marvel was hoping for but, of course, it’s hard to deny the striking power of the images.

While the first of “3 Months to Die”’s five issues drops in June the title is entirely literal, as Charles Soule’s The Death of Wolverine will be released weekly in September. Soule described the miniseries as hitting fast and hard and explained that it would consider how Logan explores his own mortality after over a century of life and relative safety. He also revealed that each issue will look at a different time in Logan’s life and, by extension, another Wolverine.

C2E2 Report: Different Perspectives – An Interview with Russell Dauterman

Some of you may not have heard of Russell Dauterman yet, but that’s likely about to change. Dauterman was the artist on the excellent Supurbia, closed out the last two issues of Kyle Higgins’ Nightwing run with a bang, and is now going to be launching the new Cyclops title for Marvel.

Russell has a unique and beautiful style and such a wonderful love for the material that I knew I had to talk to him and, thankfully, he was gracious enough to give us a bit of his time this past weekend at C2E2. Join me as we discuss character, representation, and working in the industry.

C2E2 Report: Inside the Creator’s Studio with Mark Waid and Buddy Scalera

Not to get ahead of myself, one of the big lessons of C2E2 for me was how much I love it when creators speak honestly. It’s fun to hear announcements, but they’ll be on Bleeding Cool soon enough anyway. No, while all the traditional elements of the con experience you imagine are great, there’s something special about conventions that dismantles the strange, often artificial barriers between creators and fans. I’ll probably talk about this again before my coverage of C2E2 is over, but rarely was this fact more apparent than in Buddy Scalera’s Inside the Creator’s Studio with Mark Waid.

Things took a few minutes to get off the ground. First Mark Waid was late and then Scalera needed a moment to get things in order. Before Waid arrived, Scalera talked to us about illegal torrenting and the serious threat that he felt it posed to the industry. In the latter interim, Waid showed us all a magic trick. It was the purest silliness but it set a familiar vibe for the panel.

Scalera’s first questions were about Waid’s childhood and how it influenced his writing. Waid said that his family’s frequent moves were a fairly significant part of his experience. Scalera then brought up the theme of family in Waid’s writing. Mark said that while his relationship with his family was not a bad one it was not particularly strong and that he left home in his mid-teens. He also mentioned that growing up in small southern towns influenced him significantly. Growing up in the 60s Waid really saw a significant cultural evolution in the more ‘traditional’ areas of the country. He pointed to the realization that some of his racist relatives were still fundamentally good people limited by the culture they grew up in as a significant one, one that taught him about the complexity of good and evil.

New “The Dark Knight Rises” Poster

WCBR Invades Emerald City Comicon

Soldierhawk will be providing live updates and pictures on our Twitter and Facebook Fan Page. Follow and Like us if you haven’t already.

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R.I.P. Harvey Pekar

Back in 2005, I was fortunate enough to have met the legendary Harvey Pekar. It was Wondercon 2005, and his book, American Splendor: Our Movie Year had recently came out. There were other greats at the con that year– Marv Wolfman, David Lapham, JMS, Brian K. Vaughn… But right when I entered the Moscone Center, I looked through the program and searched where Harvey was set up, and made my way to his booth right away.  When I found him, I was surprised, yet glad to see him sitting there, elbow on the table, fist underneath his cheek, waiting.

Interview With The Walking Dead Special Effects Make-Up Designer Greg Nicotero

The Special Effects Make-Up Artist for Romero’s Day of the Dead and Tarantino’s Inglourious Basterds describes getting the extras pumped in The Walking Dead and sizing up potential zombies over dinner.

Q: You’ve been creating zombies for George Romero for years. What made you want to tackle The Walking Dead?

A: I’ve been best friends with Frank Darabont since before he directed The Shawshank Redemption, and we share a similar interest and nostalgic devotion to George Romero and Night of the Living Dead. We started talking about this project probably three or four years ago, when Frank was talking about wanting to do something different with zombies, and what we could do to make these guys look fresh and original. And from then on, it’s just been like, Hey man! We get to create zombies!

Q: How do these zombies differ from the ones you created for Romero?

A: We used the graphic novel certainly as inspiration. We’ve always tried to push the envelope, and because I’ve done so many other projects it’s always one of those things where you finish a movie and go, “Oh man next time I know how we can make it better. And after that I know how we can make it even better than that.” We’ve taken everything that we’ve learned on all these other projects, and applied them in terms of using new materials and new techniques – even something as simple as a zombie getting shot in the head: We really sat down and worked through the best way to make that look realistic and practical.

Q: What was your solution?

A: Well in the ’70s they just put squibs on extras’ heads and detonated them. Then you got to the point where if you had to use explosive squibs it could only be on a stunt person. But for The Walking Dead, we’re going for a very specific physical type: Every zombie that we see is really tall and really thin and really gaunt looking. One of the story points is that these characters have been dead for so long that they’re starving, and will eat virtually anything. They’ll eat a horse, they’ll eat a rat. So we built this self-contained head-hit rig that runs off compressed air. You fill a tube with blood, and then you use a foot pump to get a really great blood spray. You can clip it on to anybody that you want, and then all of a sudden you have instantaneous head wound.

Q: One of the more infamous scenes in the comic is when the zombies do in fact eat a horse. What was that like to shoot?

A: It’s almost like a Piranha attack – it really was like a feeding frenzy. We had thirty extras leaning over this prosthetic horse that we created, and they started ripping its insides and its entrails out and going crazy. They were sticking their heads in it and their hands in it. I kind of whipped them into a little bit of a frenzy before we shot, and it was funny because at one point I walked over to Frank and I’m like, “Dude, these guys are so amped up you better shoot this quick before they tear the horse apart!” Click here to read more.

AMC Interview With Comic Creator and Series Executive Producer Robert Kirkman

Robert Kirkman, creator of The Walking Dead comic and Executive Producer of the series, explains what it’s like to bring his story to life and witness the end of the world (or at least the end of Atlanta) in the process.

Warning: The following contains plot spoilers for The Walking Dead comic series.

Q: You started writing The Walking Dead in 2003. What’s it like to finally be on set?

A: “Surreal,” I guess, is a word I’ve been saying a lot. “Amazing” is another word. I was on a movie set last summer that was like a big budget blockbuster, and before I got out here I told myself, “I’m not going to be seeing the same kind of stuff because they don’t have a budget like a summer blockbuster.” But you know what? It’s almost bigger. The first day I was here was the day after they had flipped the car and there was a big shootout that we saw. It was just absolutely mind-blowing.

Q: Are you finding things are being physically realized as you had imagined them?

A: Everyone is really trying to do good by the comic, and there are scenes that are straight out of it. I think that fans are just going to be thrilled. But at the same time, [Frank Darabont] is vastly improving the material. And there are things here and there that along the way I should have caught, but didn’t. There’s some amazing stuff he added for Morgan’s character in the Pilot episode that’s just not in the comic. It was back story, but he handles it in a way that just really brings it to the forefront. It’s like, Morgan, that guy is an awesome character!

Click here to read more.

Batman: Under The Red Hood

It looks like the newest DC Universe Animated movie is based on Judd Winick’s “Under The Hood” arc. Be on the look out for it this summer, July 27.

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Newsflash for Writers: New anthology looking for superhero stories

Hey comic fans! I don’t know how many of you out there are writers as well as comic fans, but I recently saw a new anthology being developed called “No More Heroes.” Most anthologies are closed (i.e.: writers submit stuff by invitation only), but this one has an open submission policy. Basically, they are looking for short stories between 3000-9000 words about some of the remaining super-powered beings in a world where most of the heavy-hitters have been wiped out in a giant cataclysm. Short stories are a great way to break into something bigger, so if you’re interested, have a look, write a story, have someone read it and give you good feedback. Then, fix it and send it off.   Here’s the website: No More Heroes.

Disclaimer: I have no connection to this anthology, nor am I submitting. I just saw it on Ralan.com and recognized it as one of the few prose outlets for superhero fiction and thought the loyal readers of WCBR might be interested.

-DS Arsenault

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Staff Picks of the Week – 1/14/09

Kyle’s Picks

Witchblade #123
Captain Britain & MI:13 #9
Deadpool #6
Wonderful Wizard of Oz #2

Daniel’s Picks

Angel: After the Fall Cover Gallery
Fables #80
Ghostbusters: The Other Side #4
Locke & key: Head Games #1
Punisher: War Zone #5
Push #4
Resistance #1
Solomon Kane #4
Soulfire: Shadow Magic #2
Terminator Salvation Movie Preq #1
Witchblade #123

Ray’s Picks

Action Comics #873
Young Liars #11
Final Crisis #6
Tokyo Days Bangkok Nights TP