Art Gallery

Gallery: Black and White artwork by Jim Lee

Courtesy of Tumblr (special thanks to Brian Michael Bendis).

Comics History Multimedia Video

FANTASTIC FOUR Documentary (video w/ Jack Kirby art)

This is must-see for anyone who truly appreciates the history of comics and the pioneers of the art form and industry. Unless you’re very young, uninformed or simply live under a rock, then you know how special the collaboration between Stan Lee and Jack Kirby was most notably in the 1960s. The Marvel Comics of yesterday, today and tomorrow would not be possible were it not for they synergistic collaboration of those two men creator what we know as Marvel Comics (and movies and TV) today.

And I gotta say those images and pages of Kirby’s look so beautiful! I would love to have all 101 issues plus the annuals now. I had a few of Stan & Jack’s run as a kid, sprinkled in with the Silver & Bronze Age comics I’d acquired in the mid-1980s. At the time as a young teenager obsessed with comics, but all about the present offerings, I hadn’t yet possessed the proper respect and regard for the old stuff that I that I thankfully developed later in life.

Fetish Fix The Fetish Life

Comic Book Fetish Pull List | February 2017

~ For February 2017 ~

Frostbite #6 (of 6)
The Wild Storm #1

Birthright #22
The Fix #8
Green Valley #5 (of 9)
Image+ #11
Kill or Be Killed #6
Lazarus #26
Loose Ends #2 (of 4)
Moonshine #5
Paper Girls #11
The Old Guard #1
Sex Criminals #16
Southern Bastards #17

Jessica Jones #5

Rough Riders #1

The Dregs #2

Savage #4 (of 4)

Grave Lilies #2

Fetish Fix The Fetish Life

Comic Book Fetish Pull List | Jan 2016

~ For January 2017 ~

Frostbite #5

Birthright #21
The Fix #7
Green Valley #4
Image+ #10
Kill or Be Killed #5
Lazarus #26 (?)
Loose Ends #1
Moonshine #4
Saga #41 & 42
Southern Bastards #16 & 17 (?)

Jessica Jones #4

Animosity: The Rise #1

The Dregs #1 (?)

The Damned: Three Days Dead

Savage #3

Buzz Comic Book Underground

Poll | Comic Book Underground’s Favorite Publishers

The poll Question I posed to the members of my Facebook group The Comic Book Underground last week:

The majority of your monthly and/or trade paperback reads come from which of the following publisher?

With only 21 participating votes, the results were:


DC Comics (Including the Vertigo imprint)

The resurgent #2 publisher in the market with 8 total votes, which ties them with the #3 publisher.


Image Comics (including the Top Cow, ShadowLine & SkyBound imprints)

The #3 publisher took the early lead in the poll (a charge led by yours truly, of course), but ultimately tied with the house of DC: Rebirth with 8 total votes also.


Marvel Comics (including the Icon & MAX imprints)

The currently battle-tested #1 publisher takes the third spot with only 4 total votes, which is a surprise because 12, 18, 24 months ago this would not have been the case. If the CBU is but a tiny microcosm of current fandom, then it appears Marvel has fallen from grace a bit.


Valiant Entertainment

Arguably “the best” non-premier publisher under Diamond’s distribution umbrella, the house of Harbingers brings up the rear at the fourth spot with merely one vote. However, it beat out AfterShock, Boom! Dark Horse (my current #2 personally), Dynamite, IDW and Other, which all had zero votes, so there’s that at least.


Comics-Related Multimedia Video

Netflix: Marvel’s Luke Cage (Official Trailer)

The Official Trailer for Luke Cage on Netflix is finally here!!!

Commentary Interview

Greg Rucka on the Big Two of DC & Marvel


In a recent Greg Rucka Debrief on the Word Balloon with John Siuntres podcast (dated January 15, 2016), Siuntres, the comic industry’s greatest comic book conversationalist (not named Jonah Weiland of CBR), discussed as usual a great deal of ranging and fascinating topics with writer/creator Greg Rucka. At one point in the 2-plus hour conversation Rucka answered a question regarding the work he did for DC Comics last Spring for their CONVERGENCE event storyline (CONVERGENCE: THE QUESTION #1-2 with artist Cully Hamner), it was an answer in which he also addressed the prospects of doing more work with the Big Two publishers of DC and Marvel.


“Getting to do those two issues of Convergence with Cully were tremendous and for me were as close to closure as I’m ever going to get in this industry, at least working for the Big Two,” Rucka said.  “That’s not to say I’m done period . . . I’ve learned that is a very foolish thing to say. But right now there’s just no plans. And the way the Big Two work right now, on their big franchises at least, I don’t think I’m a good guy for that environment anymore. I don’t see it. I put in a lot of years in those environments and I don’t really have a whole lot to show for it. The royalties I receive for that work are really minimum. I mean really miniscule. DC seems to be putting back into print some of what I wrote, but there have been years, years of what I did out-of-print. Not to be a dick about it but those royalties matter. That investment matters. I’d much rather put my time and effort into creating work that I and my collaborators own.”

Like other creator-owning writers such as Mark Millar, Brian Michael Bendis and most others, Rucka splits creator-ownership with his artistic collaborators right down the middle. He’s said before in other interviews that it is the very least he can do, given the division of labor that’s skewed heavily toward the artist.


On the contrast of working for the Big Two and working on creator-owned work, such as his dystopian epic LAZARUS (Image), his supernatural/cop procedural BLACK MAGIC (Image) and his other crime series with a female lead in STUMPTOWN (Oni Press), Rucka went on to say, “We can tell the stories we want to tell. That we are not obligated to serving a corporate entity that doesn’t give a fuck about the story you’re telling, but cares only about the numbers, and frankly at the end of the day that’s true for Marvel and DC. They can crow all they like about the brilliance of their story but the fact of the matter is if the book ain’t selling then the book gets cancelled. And if I’m brutally honest our numbers on Lazarus are canceled numbers at the Big Two. The book would’ve been consigned to the dustbin of history a long time ago. The flipside of that is . . . we’re developing a television show.”

Taking in this account from Mr. Rucka along with similar statements from several other successful creators these days, the message seems simply this: essentially, for the less-seasoned creators and those just breaking into the industry, the Big Two still remain the spawning ground for what could become a successful career in comics (especially for the illustrators). You typically build your reputation, cache and public profile working for the factory that is corporate-owned comics before making the leap into lucrative creator-owned comics work (not to say you can’t start there, it’s just less-likely you’ll make a great living doing so exclusively). However, for seasoned veteran creators it seems that a reliance on work from Marvel and DC – both financially and creatively – is less of a crutch than it’s ever been, perhaps historically so. This could not have been said a generation ago, especially for writers.


You can catch the entire conversation and more at: or the Word Balloon Facebook page.

As for Greg Rucka, you should already be following the man and reading his works. Website / Blog


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