pryce14:

Spider-Gwen for my cool-down today.  God I loved this issue and have full confidence (read: sincerely and utterly hope) that we’ll see more of her after spider-verse.

(via jasonlatour)

‘Zero’ review: Being a spy will really mess you up | EW.com →

hellomuller:

It’s extremely nice from Entertainment Weekly to devote part of their review looking at the design of the series:

Designed by Tom Muller (who is also responsible for the striking look on the single issues), the trade dress for both volumes feature one of the most striking designs for a standard trade paperback in recent memory.

Is everyone reading Zero yet or what?

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Robert Jordan’s Wheel of Time
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pizza-party:

ulisesfarinas:

Revisited a drawing from 5 years ago.

This is AMAZING. Work hard and work a lot and you get better. It’s that simple.

brianmichaelbendis:

Batman by Sean Gordon Murphy / Website & Mike Spicer

its official: im a sean murphy fanboy

(via bashaliora)

hellomuller:

Every ZERO cover design to date, made with Michael Walsh, Becky Cloonan, Chris Burnham, Paul Pope, Tradd Moore, Christian Ward, Mateus Santolouco, Morgan Jeske, Will Tempest, Vanesa R. Del Rey, Francesco Francavilla, Nick Dragotta, Cameron Stewart, Matt Taylor, Sean Phillips, Jorge Coelho, Tonči Zonjić, and Michael Gaydos.

ZERO Vol. 2: AT THE HEART OF IT ALL is available at your local comic and book store, at Amazon (US / CA / UK) and digitally at Image Comics online and Comixology (US / UK).

ZERO Vol. 1: AN EMERGENCY is available at your local comic and book store, at Amazon (US / CA / UK) and digitally at Comixology (US / UK).

beckycloonan:

I just realized we are one Total Recall quote away from Gotham Academy issue 1!!

A comiXologist Recommends:
Mike Isenberg recommends Monster & Madman 

Jack the Ripper was in the headlines again last week, with claims surfacing of new DNA evidence pinning the 1888 London murder spree on Polish barber Aaron Kosminski.  Writer Steve Niles (arcaneimages) and artist Damien Worm, however, have another theory.

Monster & Madman tells the tale of Frankenstein’s monster, following the events of Mary Shelley’s classic novel.  Rather than burn himself to death on Victor Frankenstein’s funeral pyre, as he told the novel’s narrator he would, the monster decides to continue his life—as wretched as it is—and finds passage from the Arctic on a ship bound for Norway.

The monster eventually makes his way to London in 1888, just as a string of grisly murders is beginning to terrify the populace.  There he strikes a deal with mortician John Moore; if the monster allows Moore to examine him and discover the secrets of Victor Frankenstein’s work, Moore will grant the monster what Victor denied him: the creation of a companion to ease his loneliness.

Of course, Moore has his own secrets and motives, and his source for female body parts may not be the generous local hospital as he claims.

Steve Niles’ writing is in turns eerie and melancholy, matching Shelley’s original text in terms of both writing style as well as his characterization of the monster.

What makes Monster & Madman really shine, however, is definitely Damien Worm’s gorgeously grotesque artwork.  Worm’s moody collages of ink, paint, and newspaper clippings set a perfect tone for this creepy tale, and work wonderfully in letting the viewer see the world through the monster’s borrowed, reanimated eyes.

For fans of the Shelley’s classic novel, or of dark and moody horror in general, Monster & Madman is highly recommended.

[Read Monster & Madman on comiXology]

Mike Isenberg is an Associate Production Coordinator at comiXology, and the co-writer of First Law Of Mad Science.  He lives in Harlem with his cats, Tesla and Edison

A comiXologist Recommends:
Harris Smith recommends At the Shore #2

As goofy and loveable as the gang from Scooby-Doo , the central group of misfits in Jim Campbell’s At the Shore #2, from Alternative Comics, finds themselves embroiled in a mystery when their car is stuck on the beach.  Bickering the whole time, they face off against what may or may not be oceanic zombies, which may or may not be the result of the environmental shenanigans of the Midlothian Seaweed Mining Company.  The story unfolds among flashbacks that may or may not be relevant to the story (I’m betting they are) as the characters bicker their way through this ever-evolving adventure.

At the Shore has its own unique sense of style that sets it apart from many of the other zombie comics out there these days.  It’s certainly a horror story in the grand tradition of “teens stranded somewhere” horror stories, but it’s funny too, yet the humor isn’t overly jokey.  Rather, it arises subtly from the relationships between the characters and their dialogue.  Campbell seems to be referencing young adult mysteries, a la Nancy Drew, the Hardy Boys and the aforementioned Scooby-Doo, yet he’s not afraid to throw in a good zombie head-squashing, suggesting the possibility that things could take a significantly darker turn as the story progresses.  It’s appropriate his art somewhat recalls that of Richard Sala, who operates in a similar arena of humor and horror.  There’s a hint of Bryan Lee O’Malley in there too, as I think fans of Scott Pilgrim and Lost at Sea would feel at home in the world of At the Shore.

The resulting mesh of conflicting tones and genre bending is delightfully unpredictable and off-kilter, and makes me a really fun read.  Without being overly saccharine or excessively twee, At the Shore is, without a doubt, the most charming zombie comic on the market today.  It’s rewarding read for those of us who enjoy low-key humor and oddball horror.

[Read At the Shore #2 on comiXology]

Harris Smith is a Brooklyn-based comics and media professional. In addition to his role as a Senior Production Coordinator at comiXology, he edits several comics anthologies, including Jeans and Felony Comics, under the banner of Negative Pleasure Publications. He’s also the host of the weekly radio show Neagtive Pleasure on Newtown Radio.