If you’ve ever wanted to see a DC Comic featuring Superman, Cyborg, and Cyborg Superman all together, your wish is about to come true. The publisher announced a new 80-page special coming in July: DC Cybernetic Summer.
Check out the official word and preview art below:
Rub some sunscreen on your circuits, because DC’s favorite cyborgs are hitting the beach in DCCyberneticSummer on July 28! In this sizzling summertime anthology special, Harley Quinn and Sy Borgman conquer a truly titanic water slide, Cyborg, Superman, and Cyborg Superman find it difficult to have a conversation, much less a fight, and Batman tries everything to escape a summer cookout—even taking on the omnipotent Brother Eye and his newly infectious O.M.A.C.s!
And it’s not just the cyborgs hitting the surf! Flashes from across the multiverse gather for a race to claim the fastest flash in the multiverse! Mercury Flash from Earth-44 is out to win it all this year, the only person standing in his way is…Barry Allen! And Red Tornado’s on a camping trip with his wife Kathy and his daughter Traya, but he’s distracted by Justice League matters! When a threat emerges, will Red Tornado be able to protect his family?
All these and more sunburnt stories that are worth getting sand in your motherboard for!
Red Tornado in “Summer Camp” by Stephanie Phillips and Leila del Duca
Cyborg, Superman, and Cyborg Superman in “Catfish Crisis” by Stuart Moore and Cully Hamner
Superboy, starring the Legion of Super-Heroes, in “Summer Lovin’” by Liz Erickson and Nik Virella
Batman, O.M.A.C. and Brother Eye in “The Limits of Control” by Corinna Bechko and Gabriel Hardman
Robot Man in ��The Summer Blues” by Max Bemis and Greg Smallwood
Harley Quinn and Sy Borgman in “Splish Splash Special” by Che Grayson and Marguerite Sauvage
Booster Gold, Blue Beetle and Skeets in “The Boys of Summer” by Heath Corson and Scott Koblish
Mercury Flash in “The Speedster Games” by Joshua Williamson and David Lafuente
Midnighter, Apollo, Monsieur Mallah and The Brain in “Out There” by Steve Orlando and Paul Pelletier
Platinum and Wonder Woman in “Fandom” by Andrew Constant and Nicola Scott
DCCyberneticSummer is an 80-page, Prestige format one-shot on sale at comic book stores and participating online retailers on July 28 with a cover by Dan Mora. For more information on the World’s Greatest Super Heroes, visit www.dccomics.com, the DC YouTube channel, or follow @DCComics and @TheDCNation on social media.
We’ve gotten the teases and the buildup, but now it’s time for the main event as “Joker War” begins this July. Check out the official DC Comics preview for Part One of the storyline in Batman #95:
BATMAN #95: “JOKER WAR” PART ONE!!
It’s coming… The final showdown between Batman and The Joker explodes in Batman #95, part one of “Joker War,” on sale Tuesday, July 21! Here’s a look at some fantastic art by Jorge Jimenez and Tomeu Morey!
It was always going to come to this. The Clown Prince of Crime and the Dark Knight Detective go head-to-head for the last time. The Joker has never wanted to win before, he’s never wanted his battle with Batman to end, but now his motivation has shifted. He has decided that one way or another, this will be the final chapter to their story. “Joker War” begins here!
Batman #95 (“Joker War,” Part One)
On Sale July 21, 2020
32 Pages
Written by James Tynion IV
Art by Jorge Jimenez
Colors by Tomeu Morey
Letters by Clayton Cowles
Main cover by Jorge Jimenez and Tomeu Morey
The Joker variant cover by Francesco Mattina
1:25 Cardstock variant cover (The Joker) by Jorge Jimenez and Tomeu Morey
Killing Eve’s third season comes to a close with “Are You Leading or Am I?” and sees Eve and Villanelle work for the first time in the season.
Villanelle has fled to London and meets Carolyn to offer her defection. But Carolyn refuses because Villanelle is no longer able to kill. Her only opinion is to retrieve the money Konstantin stole from The Twelve and she enlists Eve for help. Konstantin also goes to London to get the money. Whilst Carolyn finally finds out who killed Kenny.
The big hook of the season was Kenny’s death: it spurred Eve, Carolyn, and the Bitter Pill team to work together and find out who killed him. The death was recorded as a suicide, even though everyone suspects it was murder. The reveal was Kenny’s death was an accident that was unintentionally caused by Konstantin, or at least that’s what he claims. It was a bitter blow for Carolyn, and she showed her dark side when facing both Konstantin and Paul. It ends the storyline about Kenny’s death and Paul’s involvement with The Twelve, in the less satisfying way possible.
“Are You Leading or Am I?” sees Eve and Villanelle meet for the first time since “Meetings Have Biscuits.” Throughout the series, there was an attraction to each other and a sexual undercurrent. The undercurrent has become overt in this season. In “Meeting Have Biscuits” Eve was able to escape Villanelle by kissing her and their first interactions in this episode was a dance together. The final scene in the episode had a beautiful quality as Eve and Villanelle have a heart-to-heart and decide on what to do next.
Whilst the episode aimed to end some storyline, others were deliberately left open. Season Four was already commissioned before Season Three was even broadcast. So the showrunners knew they had the freedom to leave some open ends, such as Carolyn and Geraldine’s relationship.
“Are You Leading or Am I?” keeps the excellent dialogue and humor that makes the show special. The episode starts off strongly when Carolyn and Villanelle and Carolyn points out that if Villanelle is an assassin who can’t kill then she’s useless. I personally loved Villanelle’s interactions with Rhian (Alexandra Roach) because Villanelle acted like a bored child and annoyed Rhian into striking her. Villanelle had to face an opponent who was could physically match. It’s just a shame that there won’t be any more of Roach in Killing Eve. Villanelle also met up with the Bitter Pill team and when they realized who she was they reacted likes you would expect.
Eve’s mission saw her go to Croydon with a ticket she didn’t know what it meant. It led to a comedic interaction at a bookmakers’ as Eve does a terrible attempt to bribe someone. Whilst Eve was a skill analysis and investigator, her field experience was lacking.
The relationship between Eve and Villanelle continues to compel, the characters were interesting, and the humor still delivers. But as a conclusion to the season “Are You Leading or Am I?” was lacking.
If you’re a Harley Quinn fan, DC Comics has given you plenty to smile about in recent years. From the character’s different comic titles to her DC Universe show, the Joker’s onetime sidekick has certainly graduated to the A-list. Now comes Harley Quinn: Black + White + Red, a new digital series with an all-star creative lineup.
Future Chapters to Feature Stories by Harley Quinn Co-creator Paul Dini, Eisner Award-Winners Saladin Ahmed, Erica Henderson and Joe Quinones, Fan-Favorite Team of Amanda Conner, Jimmy Palmiotti and Chad Hardin, Along with Comics’ Most Dynamic Storytellers
DC proudly announces the launch of its newest Digital First series, Harley Quinn: Black + White + Red! Publishing each Friday and spanning 14 chapters, this digital series is an anthology of standalone stories told in the vein of the classic Batman: Black & White. The first chapter is available for purchase now on participating digital platforms, including readdc.com, Comixology, Amazon Kindle, Apple Books, and more.
Each chapter of Harley Quinn: Black + White + Red will be told in traditional black and white with the color red utilized in unique ways throughout each of the individual stories. The debut chapter of the Digital First series is “Harleen: Red” by writer/artist Stjepan Šejić with lettering by Gabriela Downie. Set in the world of Šejić’s New York Times bestselling graphic novel Harleen, this story hints at a “red” that will have meaning only to Harley Quinn!
“Harley Quinn: Black + White + Red is a great addition to our Digital First lineup,” said Hank Kanalz, SVP of Publishing Strategy & Support Services. “Each story stands on its own, and this series gives our talent teams the freedom and flexibility to tell innovative stories that could be part of or separate from regular continuity. Everyone has a unique vision for Ms. Quinn—it’ll be fun to see what their creativity delivers.”
Future chapters will feature a fan-favorite lineup of talent, including Harley Quinn co-creator Paul Dini; the team of Amanda Conner, Jimmy Palmiotti, and Chad Hardin; Saladin Ahmed and Javier Rodriguez; Tim Seeley and Juan Ferreyra; Erica Henderson, Daniel Kibblesmith, and more to come throughout the run. And Harley Quinn: Black + White + Red is also the DC writing debut for several acclaimed illustrators! Artists Mirka Andolfo (DC Comics: Bombshells), Dani (The Low, Low Woods), Joe Quinones (Dial H for Hero), and Riley Rossmo (Martian Manhunter) are all developing chapters written in their own voice, paired with art in their distinct styles.
“This is such a cool series with killer art,” said Mark Doyle, DC Executive Editor. “Senior Editor Chris Conroy had the idea to riff on the classic Batman: Black & White series but to do it with Harley in that irreverent, fun way that only Harley can do—and DC Digital First seemed like the perfect format to tell these stories.”
Harley Quinn: Black + White + Red promo art is by Jorge Jiménez.
Harley Quinn: Black + White + Red’s first chapter, with story and art by Stjepan Šejić and lettering by Gabriela Downie, is available now. Subsequent digital chapters of Harley Quinn: Black + White + Red will publish weekly on Fridays through its 14-chapter run. Andolfo’s story will publish July 3, Ahmed and Rodriguez’ collaboration will publish on July 10, and Seeley and Ferreyra’s chapter will publish on July 17 to round out the first month of the series.
DC’s comics are available on participating digital platforms seven days a week, including readdc.com, Comixology, Amazon Kindle, Apple Books, DC UNIVERSE, and more.
Doctor Tomorrow is a five-issue mini-series from Valiant Entertainment written by Alejandro Arbona with art by Jim Towe. Issue three-hit your local comic book store this week with a major plot twist. Thanks to Valiant, Monkeys Fighting Robots has an exclusive interview with Arbona.
About Doctor Tomorrow:
Doctor Tomorrow first appeared in Operation: Stormbreaker #1 back 1997, and was created by Mark Waid and Brian Augustyn. The character is reimagined as a teen hothead and star athlete, Bart Simms. He is about to meet the Valiant Universe’s greatest hero…Himself!
WARNING! – There are spoilers below if you have yet to read Doctor Tomorrow #3.
Enjoy The Interview With Alejandro Arbona
MFR – Doctor Tomorrow deals with time travel and a multiverse, how much world-building was involved?
Arbona – The beauty of working in a shared universe is that there’s already a lot of world-building ready for us to run with, from time travel and giant robots to big, colorful superheroics. At the same time, this is a story we basically cooked up from scratch. The multiverse came up a little bit toward the end of the run of Ivar, Timewalker by Fred Van Lente and Pere Pérez, but for the purposes of this story, we had to build up how all of it works, what the rules are, what the stakes are. But the funny part is that we actually did so much world-building that a lot of it never even made it into the comic, and since this part of the story is over, we’ll never have a chance again. For instance, we’d initially planned a scene where Faith helped out with Bart’s flying lesson. Doctor Tomorrow was really excited to meet her, because 20 years ahead in his own universe, she’s a famous, beloved hero, as Joshua Dysart and Kano established in a comic that I was editor of, Book of Death: Harbinger, where we saw tens of thousands of people turn out in droves to grieve at her funeral. In my original outline of the flying lesson, Doc was so starstruck to meet Faith that he blurted out, “I was at your funeral!” and she got super creeped out. Naturally, that was also meant to foreshadow that Doc turns out to be a huge creep in a lot of ways. Spoiler!
MFR – There is a twist in issue three, can you talk about how you set up the reader for the twist?
Arbona – There’s a lot that we laid in, during the first two issues, that pays off in issue three, and I think you can see it in the re-read. Doctor Tomorrow is really arrogant and pretty awful in a lot of ways. At first, you might not think about it, because he’s a commanding, take-charge leader, and an alpha superhero type. But look again. He’s quick to give in to anger, quick to resort to violence. He always jumps to the first conclusion, and jumps straight into a fight. And when you realize how much unhappiness and anger the teen Bart has, and how badly he copes with it, you can see how he’s bound to turn into that guy. Bart is literally a supervillain in the making.
MFR – Young Bart is at an important crossroads in his life, and then with the multiverse, he can see how several different paths turn out? Does the multiverse make it easier to write your main character, and if so, how?
Arbona – The multiverse concept was the whole key to this character. In the original Doctor Tomorrow by Bob Layton and several artists, Bart Simms was a man in the 1940s who received a box that was mysteriously sent back in time full of sci-fi super-gear and schematics. He uses it to build himself all sorts of futuristic gadgets and vehicles, and then he says he’s from the future…a man out of time, with a twist. But as far as being a hero goes, he’s fundamentally compromised. He’s dishonest, he lies about the origin of his powers, and he spends the rest of the series trying to stop whatever caused the box to go back in time to begin with, so he can prevent himself from ever becoming Doctor Tomorrow in the first place and ruining his life. It was a really unorthodox superhero story, and if you can’t quite tell, I’m a huge fan. That and Jim Starlin’s Warlock, another brooding, heady comic about a superhero who becomes his own tormentor and regrets so much of what he’s done. But when Robert Meyers and Drew Baumgartner and Fred Pierce and I started talking about a new take on this character, we knew right away that the time-travel hook couldn’t be repeated. You can’t tell the same story again, and you can’t just tweak it and mix it up, because the balancing act of logic and causality falls apart. We also didn’t want to do anything dark or pessimistic, we were all on the same page that we wanted to do a fun, light-hearted superhero comic and establish a character who was morally upstanding, and aspirational, tinged with a Silver Age sensibility—one of Valiant’s few superheroes ever to wear a cape. In a way, it’s like that Simpsons joke where they do an Itchy & Scratchy focus group and find that the kids want a realistic, down-to-earth show that’s completely off the wall and swarming with magic robots. When I got the prompt to pitch a new Doctor Tomorrow, the idea I seized on right away was the moral compromise at his core, the lie that forms the basis of his superhero persona, and the drama of his remorse about letting himself become that guy…while also being light-hearted, colorful, aspirational, and fun. It’s an extremely tricky balance, and the idea of the multiverse was the key to unlocking that, by splitting up the same Bart into separate characters!
MFR – The trope of time travel tends to lessen the drama since you can easily retcon the story. How do you avoid this as a writer?
Arbona – In any good story, no matter what genre, the highest stakes are the emotional ones. Even if a story is about life-or-death peril or the Earth hangs in the balance, the main characters are always going through something emotionally, too. If they aren’t, it’s a boring story. That’s why even detective stories and courtroom procedurals, which are just about somebody doing their job, always feature some wrinkle to make it personal for the protagonist. And hitting a time-travel reset button to retcon the plot can’t change that the characters have taken that journey, and the audience with them.
MFR – With a five-issue story, how do you reveal enough to keep the reader wanting more each issue, but not showing too much, or ending an issue on a flat note?
Arbona – The challenge of serial storytelling is that each issue needs to tell a fun, engaging story by itself, while it also advances the main story of the series. I can only try my best and write the story that I find entertaining in each issue, and hope the reader agrees with my opinion. But I think that as long as each issue features new twists and surprises, with action and laughs and compelling heart, and ends with a question mark that the reader can’t resist coming back to find out more about, then we’re pulling it off. And you know what, I think we do that! Give us a try and see for yourself, why don’t you!
MFR – The comic book industry is at crossroads here in 2020, what are your predictions when it comes to what the industry will look like in 2030?
Arbona – I could see it going several ways. On the one hand, digital is shaking everything up so quickly that even comics, which were slow to adapt, will continue to evolve, hopefully not just in distribution but also in how they’re created. We’re also finally, finally seeing more widespread acceptance toward comics in libraries and classrooms, and there’s been explosive growth in comics for kids. With more kids reading graphic novels, I can only hope we’ll see more business for comic book stores, but also, comics being sold in more places. I love it when a bookstore has a respectable, worthwhile graphic novel section with stories for a plurality of different readers, not just a few half-assed shelves. On the other hand, the comic book industry is very resilient, both in a good way because it’s tough and in a bad way because it’s resistant to change. In ten years, maybe we’ll still be chugging right along the same way we are now, and I don’t mean that as a good thing. Most comic book stores survive on razor-thin profit margins. Most comic book makers earn very little money and do the work at great personal sacrifice out of love for the art form. The industry is lousy with exploitative working conditions and abuse of all kinds. The decade of the 2030s will be the one-hundredth anniversary of the birth of the modern comic book, and many of those problems have existed for pretty much all those one hundred years. Hopefully, we’ll finally get better at fixing them in the next ten.
MFR – Thank you for your time, and best of luck with Doctor Tomorrow!
What did you think of the interview? Are you reading Doctor Tomorrow? Comment below with your thoughts.
From the minds of playwright Sean Lewis (The Few, Coyotes) and artist Caitlin Yarsky comes a mind-altering tale of murder and a path to redemption in “Bliss” #1. This debut issue offers a mix of tragic human drama and psychedelic underworld activity. Backed by incredible visuals, this first issue could be the makings of another classic in the Image Comics stable.
“The team behind hit comic Coyotes returns for an all-new, two-arc maxi-series. There’s a drug called Bliss wiping away memories in Feral City. A good-hearted young man, overwhelmed by a deathly sick child and distraught wife, makes a deal to become the personal hitman to three gods, killing those in their way and sending memories down the river of Oblivion in exchange for his family’s well-being. Breaking Bad meets Neil Gaiman’s Sandman in an urban fantasy unlike any you’ve ever seen.”
Writing & Plot
Sean Lewis‘s script in “Bliss” #1 inspires sympathy and moral conflict in the central character and his actions. This comic is set as a frame narrative, meaning that it is a story inside of a story. The main story is about Benton Ohara’s attempt to keep his son alive by becoming a hitman and being allowed to forget his actions. The frame story is a flash-forward and defense of this man’s actions before a tribunal (the identity of Benton’s defender may be a bit of a spoiler). The issue takes place over a span of several years, from the beginning of Benton and his girlfriend Mabel’s new life in Feral City and through the hardships of poverty and illness that led him to become a hitman. This first issue does a brilliant job of setting up the tragedy of Benton’s circumstances, while still acknowledging the fact that many people have been lost or hurt by his actions. The pacing and handling of detail in this issue are stellar, as Lewis utilizes the storytelling capacity of a single comic book to its fullest. He packs this world full of unusual details and mythos without ever stooping to explaining everything. The mystery he creates surrounding the three old crime bosses/gods and the effects of Bliss by themselves are a reason to pick up the following issues. The fact that this is such a character-centered and emotionally effective story, however, is what could end up making this comic a serious hit.
Art Direction
A comic consisting of human sentimentality and mysterious fantasy like “Bliss” #1 needs some stellar visuals to sell the experience. Fortunately, Caitlin Yarsky is on hand, and she delivers in kind. The Coyotes artist draws an immense amount of detail in both her characters and environments, engaging the reader fully in both the plot and setting this comic takes place in. Each individual character looks completely unique and the human characters look plainly, well, human. They aren’t drawn with the sometimes “too perfect to be real” aesthetic comics sometimes have. They look like folks you may see just walking around from the day-to-day. This is combined with the scuzzy, almost neo-futuristic design of Feral City and the fantastical elements within that really define this comic’s gorgeously unique aesthetic. The detritus and decay of dim neon highlight the impoverished status of Benton and Mabel, as well as those living around them. Much of the setting is either desolate or run-down to signify their circumstances, as well as contrast heavily with the appearance of the 3 gods. Their outlandish alien design, like a mix of Alice in Wonderland and Star Wars, is mixed with a lavish setting that is directly opposed to the squalor just outside their door. The color contrasts from scene to scene have a massive effect on the environmental changes as well. Each new area, from the hospital to the gods’ den, is draped in a distinctive hue to match the tone of what is occurring. The visual direction of this comic is wondrously alluring for each and every page and is perfect for this story’s concept.
“Bliss” #1 reads like the love child of Sandman and 100 Bullets. Sean Lewis’s script is emotionally impactful and brilliantly weird. Caitlin Yarsky crafts a visual experience through her detailed pencils and focused panel framing to bring this unique experience to life. If this comic can stay as consistent as this first issue, then Image has another phenomenon on their hands. Be sure to pick up “Bliss’ #1 from your local comic shop on 7/22!
Sleeping Beauties #1 out this week from IDW is based on the horror novel by Stephen King and Owen King and adapted by Rio Youers and Alison Sampson.
Sleeping Beauties #1 Has a Decent Outline
Sleeping Beauties is a project the Kings are investing a lot into as advisors. Stephen in particular seems to have some enthusiasm towards comics, having co-created an X-Men villain and co-writing the first American Vampire issues with Scott Snyder. His son Owen meanwhile is a fan of award-winning thriller novelist Rio Youers. Combine all of this with a plot about a pandemic that induces outrage; this sounds like a best-selling formula, especially with these events happening in real-time with Covid-19 and nationwide protests. However, good concepts need just as good or better execution.
Unfortunately, Youers’ writing feels out of place throughout Sleeping Beauties #1. The opening pages are somewhat confusing; some captions would’ve significantly benefitted this piece. To Youers’ credit, he sets up the plot, primary setting, and half of the conflict. Every other action that happens in the plot happens just to move the plot rather than provide an explanation. That being said, seeing the outbreak disease affect one of the main characters does look troubling. Especially considering the reader learns about the full context near the end. One that could have dire ramifications down the road.
Art
Sleeping Beauties #1 has the artwork of Hit-Girl artist Alison Sampson. Sampson’s art at its best gives off a surreal atmosphere from just its opening. When it comes to character designs, however, most of them look emotionally stilted. When the characters you’re supposed to be rooting for have decent family downtime, it’s a little hard to relate to them, especially when the only character to show any other emotion cuts loose and commits gleeful mayhem.
Tríona Farrell, one of Sampson’s regular collaborators, as the colorist is arguably the best part of Sleeping Beauties #1. The muted color she employs for most of the issue sets the dour tone. The blue butterflies are practically messengers of a calamity, all in contrast to the color’s historically calming properties especially when one of these calamities gets decorated in red splotches of blood.
As for Christa Miesner’s lettering, it’s rather confusing. Most of the word balloons are black with white letters. It might be a little better if the words are said with some aggression, like what Clint Norcross says under his breath in his first appearance. But when everybody does this, it just makes it sound like everybody’s grumpy. All except for when the homicidal woman converses with a rabbit through orange balloons. Which implies an otherworldly force behind the disease. As for the wordmarks, they range from being creative with how their color contrasts to the situations at hand to being in the wrong place. At least that’s the latter’s the case with Lila’s encounter with the homicidal woman when she breaks her car before the sound takes place.
Sleeping Beauties #1 Could Be Better
Sleeping Beauties #1 certainly displays the series potential. There’s a very real dour sense happening in the background, but it’s not properly communicated. At least as far as the writing and penciling are concerned. Sleeping Beauties as a whole might improve later on, but for now, people might want to consider watching Castle Rock to satisfy any Stephen King cravings.
DC Comics continues to go all-in on the upcoming Batman:Three Jokers by Geoff Johns and Jason Fabok. Following the announcement of collectible playing cards comes word that the book will ship with a collection of variant covers (all by Fabok).
Here’s the official word and a look at six of the covers:
DC REVEALS PREMIUM VARIANT COVERS FOR BATMAN: THREE JOKERS BY SERIES ARTIST JASON FABOK
It’s one of the most anticipated comic book stories of the decade: Batman: Three Jokers by Geoff Johns and Jason Fabok! Debuting in August, this series delivers the payoff to the years-long mystery of why—and how—there are three Jokers, and what that revelation means to the eternal conflict between Batman, his allies, and the Clown Prince of Crime.
To commemorate this landmark series, DC will offer to participating retailers nine Premium Variant Covers for Batman: Three Jokers, each illustrated by series artist Jason Fabok. Along with the main cover and regular variant cover, each issue of Batman: Three Jokers will have three Premium Variant Covers, showcasing Fabok’s interpretation of a different face of The Joker’s madness throughout DC history. All nine of the Premium Variant Covers mirror Fabok’s main covers for the three-issue series, giving a close-up look at even more of The Joker’s terrifying incarnations.
The Premium Variant covers for issue #1, on sale August 25, are as follows:
Red Hood (Variant A)
Joker Fish (Variant B)
Joker Bomb (Variant C)
For issue #2, on sale September 29:
Joker Behind Bars (Variant D)
Death in the Family/Top Hat & Monocle (Variant E)
Joker Applying Makeup (Variant F)
And for the final issue #3, on sale October 27:
Batman: The Killing Joke Hawaiian shirt and camera (Variant G)
Diamond initiated the “Back The Comeback” campaign on May 13th as a series of activities designed to support comics publishers and retailers hit hard by the COVID-19 lockdowns. Phase 1 consisted largely of branding exercises in partnership with Alliance Game Distributors, Publishers willing to print the badge on select covers, and retailers opting to display the marketing materials.
Today, Diamond announced in a press release it will begin Phase 2 of the campaign with a series of auctions designed to raise money for charities that support comics retailers. Beginning July 4th and running for two weeks, the auctions will offer works from creators such as Frank Cho and unique items such as an original Magic: The Gathering card sheet, printed circa 1993. you can read the full description in the press release below, including links to the auction site.
Are you going to participate in the auctions? What other activities would you like to see out of the “Back The Comeback” campaign? Let us know in the Comments, and please share this on social media using the links below.
Diamond, Alliance Launch Charity Auction to Support Comic Book and Game Stores as Part of ‘Back The Comeback’ Campaign
(BALTIMORE, MD) — (June 25, 2020) — On May 13, Diamond Comic Distributors and Alliance Game Distributors, companies of Geppi Family Enterprises, partnered to launch the “Back The Comeback” campaign, a multi-phase initiative designed to support local comic book and game stores as they began to safely reopen, restart, and rebuild. Now, the campaign is entering its final two phases: a charity auction designed to raise relief funds for comic book and game stores and in-store retailer promotions.
Phase two of the Back the Comeback campaign includes the launch of an online auction hosted by Diamond International Galleries. The auction kicks off July 4 and runs through July 18 and features a wide range of items up for auction, generously donated by artists, publishers, game designers and friends of the industry. Steve Geppi has kicked off donations to the auction with items valued at approximately $50,000. One of the most anticipated original art pieces is an oil on canvas painting called, “The Ice Queen”, created by comic book art legend Frank Cho and published in his book “Drawing Beautiful Women.” Game-fanatics and Magic: The Gathering fans will be excited to find an uncut sheet of playing cards from the original Magic: The Gathering (circa 1993) on the list of biddable items. The full list of items will be available upon the launch of the auction Saturday, July 4, 2020. Interested bidders should visit DIGAuction.com to create a free account. Auction proceeds will go directly to charities that support comic and game retailers. Winning bidders can select which charity they wish to support from a list of options.
The third and final phase of the campaign is centered around in-store retailer support. Many comic publishers have supported the campaign by printing the Back the Comeback logo on the cover of their books. Marvel Comics was the most recent publisher to add the campaign logo to Empyre #1 variant cover. Other publishers offering the campaign logo on their covers include IDW Publishing, Image Comics, and AC Comics. Game stores can expect to see in-store promotions beginning July 6 to coincide with the launch of the auction. Alliance Game Distributors has planned 6-weeks of promotions; each promotion will start on a Monday and will run for 4-weeks. Participating gaming publishers include Alderac Entertainment Group, Smirk and Dagger Games, Renegade Game Studios, and WizKids to name a few.
Additional information on Back The Comeback can be found at backthecomeback.com.
DC Comics continues its outreach to younger readers, this time enlisting a famous name from outside comics — actress Mayim Bialik (best known today for The Big Bang Theory) —for the new book Flash Facts.
Check out the description and some preview art below:
DC TAPS BIG BANG THEORY STAR MAYIM BIALIK TO CURATE
FLASH FACTS
New Middle Grade Graphic Novel Anthology Features Short Stories by All-Star Writers
and Artists That Demonstrate S.T.E.M. Principles Through DC Super Heroes
Book Hits Stores February 2, 2021
Available to Preorder Now
Have you ever wondered what’s at the bottom of the sea? Why polar ice melts? Or which tools forensic scientists use to solve a crime?
Well, DC has great news! All these answers and more will be revealed in Flash Facts, a lighthearted middle grade graphic novel anthology set to debut February 2, 2021. Geared toward readers ages 8-12, this collection of short stories is curated by award-winning actress and author Mayim Bialik and aligns with Next Generation Science Standards, providing a helpful bridge between the S.T.E.M. (Science, Technology, Engineering, and Math) lessons taught inside the classroom and how these principles affect our everyday lives.
Under Bialik’s oversight, the short stories demonstrating various S.T.E.M. principles will star Batman, Superman, Wonder Woman, and more DC Super Heroes and will be written and drawn by some of the most popular writers and artists in middle grade and comics publishing, including New York Times bestselling author Michael Northrop (TombQuest, Dear Justice League), Dustin Hansen (Microsaurs, My Video Game Ate My Homework), Cecil Castellucci (Batgirl), Kirk Scroggs (Snoop Troop, The Secret Spiral of Swamp Kid), Corinna Bechko, Sholly Fisch, Amanda Deibert, Vita Ayala, Amy Chu, and more to be announced.
See below for the official description. The book is available to preorder now.
Contributors:New York Times bestselling author Michael Northrop (TombQuest, Dear Justice League), Dustin Hansen (Microsaurs, My Video Game Ate My Homework), Cecil Castellucci (Batgirl), Kirk Scroggs (Snoop Troop, The Secret Spiral of Swamp Kid), Corinna Bechko, Sholly Fisch, Amanda Deibert, Vita Ayala, Amy Chu, and more to be announced
Cover by Derek Charm
Preview Interior art revealed today by Dustin Hansen
On sale everywhere books are sold February 2, 2021
MSRP: $9.99
Have you ever wondered what’s at the bottom of the sea? Why polar ice melts? Or which tools forensic scientists use to solve a crime?
Well, look no further! Everyone’s favorite Scarlet Speedster is here to answer all your burning questions! Barry Allen, with the help of some of his close friends, will take readers on an exciting journey that examines everything from the vast expanse of our galaxy to the smallest living organism known to exist.
Curated by award-winning actress and author Mayim Bialik, PhD, and featuring stories created by an all-star cast of writers and illustrators, this anthology aligns with Next Generation Science Standards and provides a helpful bridge between the lessons taught inside the classroom and our everyday lives.
