“BioShock,” since its debut in 2007, has been a franchise that is just gorgeous to look at as well as to play. Six years ago, gamers were introduced to the underwater city of Rapture, which was isolated from society and stuck in the 1950s. Every detail that went into the environment, from water leaking into just about every room, retro vending machines and the posters that hinted at the city’s technology and culture, drew the player in and made them feel trapped in Rapture.

The people behind the “BioShock” franchise have done it again with their new game “BioShock Infinite.” The artwork reflects certain design choices within the game and grants the player with a new atmosphere to become lost in: the floating city of Columbia. The Art of BioShock Infinite published by Dark Horse, grants an in-depth look into the evolution of the design, style and characters within “BioShock Infinite,” with a forward by the Creative Director of Irrational Games, Ken Levine, with commentary by Julian Murdoch and Dorian Hart.

The art book gives an adequate amount of attention to every aspect of the development process without overwhelming the reader with technical terms. Certain enemies that are seen in the finished game have different appearances, textures, appendages or just were scraped all together while core concepts were kept. What is truly beautiful and telling is the artwork of Columbia itself. Vast open spaces with towering buildings give the viewer a sense of the city while the darkness and degradation of the environment give an uneasy vibe, as if there is something going on behind the scenes.

The main characters of “BioShock Infinite,” Elizabeth and Booker, have gone through their iterations as well, until just the right look portrayed the characters correctly. Elizabeth in particular has a multitude of pages dedicated to her facial features and attire, which gives the viewer an appreciation for her polished final design.

Artist Robb Waters hints upon the difficult relationship Elizabeth has with the Songbird in one single image. Elizabeth stands next to the immense creature with one hand placed on it, as if petting the creature with a look of sadness on her face. The Songbird’s evolution is quite interesting to see. From early sketches that resemble that of a “Big Daddy with wings” the artists transformed the Songbird into a different creature altogether. The Songbird gives off an avian vibe with a mechanical tick that is both fascinating and terrifying. Is it truly a bird? Is it purely mechanical? This is something the player will have to find out within the game.

The only qualm is in the design of the main protagonist, Booker Dewitt. In his early iterations, Booker’s facial features had character. One example of this was that the bridge of his nose looked swollen, giving the rest of his face a fighter kind of look. However, in his polished design he appears to be a mix of Nathan Drake (“Uncharted”) and a younger looking Joel (“The Last of Us”). The commentary points to a necessary “everyman” look. The game industry is obsessed with the attractive white male in his thirties with a little scruff on his face, but it is becoming old hat. Would a less attractive leading male have been too much in a first person game which, according to Ken Levine, only shows Booker’s face in a reflection?

The art book makes up for this setback by giving an intriguing look at the game’s powers, which the player obtains by consuming Vigors. Vigors are given their very own chapter which sheds light onto the numerous designs of the bottles as well as the physical transformation of Columbia’s citizens that become addicted to them.  Their bodies are grotesquely affected as a result.

Propaganda art work is a staple within the “BioShock” franchise. Posters littered around the city give the player insight concerning the social and cultural goings on around the city and that time period. The chapter on the propaganda of Columbia is reminiscent of the propaganda from the nineteenth century. They portray an America worried about foreigners deluding the American standard and values.

At the same time, propaganda posters for the civil war between The Founders and the Vox Populi add to the tension within the city. The leader of the Vox, Daisy Fitzroy, also has her own designs, as the artist strove to create a compelling leader for the revolution.

Last, one of the most interesting aspects of Columbia is the Sky-Hook. Sky-Hooks are the method of transportation between the floating sections of Columbia. They resemble roller coasters, except a character hangs by one arm. The design of the Sky-Hook is highly intricate, which gives a sense that they would actually exist. Irrational Games has produced some for the eager collector to own. As if the Sky-Hook was not innovative in itself, it can also be used in combat. There are several exciting renderings of the Sky-Hook maiming enemies.

Throughout The Art of BioShock Infinite the viewer is treated to a behind the scenes look at how concepts and designs are drawn up and evolve within the game design process. Many concepts do not make the cut, but the ones that do are the polished and truly unique ideas that make the finished game worth experiencing. This is an art book not only for the discerning collector, but a must buy for any fan of the “BioShock” franchise.

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Dark Horse has announced the promotion of Jim Gibbons to associate editor. Gibbons, perhaps the “comics industry’s youngest veteran,” came to the Dark Horse PR department in 2009, following a brief career in the comics media as a writer and associate editor for Wizard magazine and a contributor to Comic Book Resources. In 2011, he moved over to the Dark Horse Editorial department as an assistant editor.

In his time at Dark Horse, Gibbons has worked directly under Mike Richardson on the Eisner and Harvey Award–winning anthology Dark Horse Presents, and has also assisted on Brian Wood’s critically acclaimed, epic ongoing series The Massive and Guillermo del Toro’s The Strain.

In addition, Jim Gibbons has edited Francesco Francavilla’s bona-fide smash-hit series, The Black Beetle, as well as Tom Morello’s politically charged, postapocalyptic comics debut, Orchid, which wrapped up last week.

“Jim has quickly established himself as one of Dark Horse’s bright, up-and-coming editorial staffers,” said Dark Horse president Mike Richardson. “His hard work on Dark Horse Presents helped to win us the industry’s two major awards. I am certain that with the same level of dedication he has shown thus far, he and the books he works on will win many more for Dark Horse in the future. Congratulations, Jim.”

“Jim brings all the best qualities a creator can hope for from an editor: he pushes you to do your best work, kicks your butt when you are behind, and buys you a beer when you are done. I’m lucky to have him on my team,” said Francesco Francavilla, creator of The Black Beetle.

This news comes after the departure of associate editor Rachel Edidin, who is leaving Dark Horse after seven years in the Editorial department. Edidin helped shape the Dark Horse prose line with projects such as Ellen Datlow’s Lovecraft Unbound and Yahtzee Croshaw’s Mogworld, while also working on critically acclaimed comics series like Caitlín R. Kiernan’s Alabaster. Edidin plans to focus on work as a freelance editor. Dark Horse wishes her the best of luck and hope to work with her in the future.

Image Courtesy : Enemyofpeanuts.com

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Eisner Award–winning artist Francesco Francavilla’s new series at Dark Horse is already being called one of the year’s best! After receiving unanimous praise from retailers, fans, and every media outlet under the sun, The Black Beetle: No Way Out #1 has officially sold out of its first printing.

Now, Dark Horse has announced that despite their best efforts, demand was just too high to keep stock on shelves. In order to time as closely as possible with the release of the critically acclaimed series’ second issue, Francesco Francavilla and Dark Horse Comics have put together another printing with an all-new cover.

This new series introduces the Black Beetle, a mob-busting costumed supersleuth, as he investigates a bombing that has killed off some of Colt City’s notorious criminals! Steeped in pulp noir with modern sensibility, this is one new series you need to read.

“I am very humbled by the great response that The Black Beetle has received. This is such a work of love that’s been in the making for several years, and I am thrilled to see so many people are really digging the book,” said creator Francesco Francavilla. “It’s my goal to make this a book that can be enjoyed by those who love classic pulp stories, as well as new fans who want a fun, entertaining read. I can’t wait to show everyone what’s coming up next!”

Retailers, the second printing of The Black Beetle #1 is available through Diamond now, using the following order code: DEC128352. This issue will be on sale in the direct market on March 13, 2013.

Fans, look for The Black Beetle: No Way Out #2 at your local comic shop on February 20.

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The response has been unanimous; Eisner Award–winning artist Francesco Francavilla’s new series at Dark Horse is already being called one of the year’s best. Francavilla’s pulp sensation, The Black Beetle: No Way Out, has received overwhelming praise from media, retailers, and fans around the country.

Just two weeks before the release of the series’ second issue, Diamond Comic Distributors has completely sold out of issue #1, and Dark Horse will be transferring stock from other channels to ensure retailers can capitalize on the series’ success.

This new series introduces the mob-busting costumed supersleuth as he investigates a bombing that has killed off some of Colt City’s notorious criminals. Steeped in pulp noir with modern sensibility, this is one new series you need to read.

Praise for the first issue:

“Any pulp and classic noir fan will tell you, there are only a handful of books out on the market that really do the job. An original concept like The Black Beetle will surely give fans of the genre something to cheer for. It’s been a long time coming for this title and it was worth the wait. 10 out of 10.”—Newsarama

“This is a fun, adventure-filled, mystery-tinged story as welcoming to new readers as possible for a comic book. Quite simply, this is good stuff. I may not be the biggest fan of pulp adventures, but I am a self-proclaimed fan of all things good and this is very good indeed. Hopefully, as promised in the text piece at the back of this issue, this is just the beginning. I, for one, cannot wait to get more.” –Comic Book Resources

“The Black Beetle #1 is one of the most exhilarating, stunning superhero comics on the stands . . . This miniseries presents a high-stakes mystery realized through Francavilla’s intensely graphic style, full of innovative layouts and spectacular splash pages.”—The Onion A.V. Club

Retailers, The Black Beetle #1 is available for reorder in limited quantities now.

Fans, make sure to grab your copy while you can. Look for The Black Beetle: No Way Out #2 at your local comic shop on February 20, featuring the attached new art.

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San Diego Comic-Con 2012 is upon us, and Dark Horse Comics is telling you all the goods ahead of time. Here is the schedules for the Dark Horse Signing Booth #2615 from Friday till Sunday. Plan accordingly!

Friday, July 13 

10:00 a.m.—Usagi Yojimbo Signing with Stan Sakai: See a preview of the upcoming Usagi Yojimbo: Way of the Ronin game for smartphones, tablets, and desktops.

11:00 a.m.—Star Wars Signing with Mike Richardson (Crimson Empire), Dave Dorman (Crimson Empire, Darth Maul), Randy Stradley and Doug Wheatley (Dark Times), Dave Wilkins (Darth Vader and the Ghost Prison), Dan Parsons (Dawn of the Jedi), John Jackson Miller (Knight Errant), Michael Atiyeh (colorist), Michael Heisler (letterer) and Tom Taylor (Darth Maul)

12:00 pm.—Valve Signing with Bill Fletcher  (“Cave Johnson”), Laura Dubuk (“Caroline”), Andrew Wilson, Wade Schin, and Arsenio Navarro

12:00 p.m.—Axe Cop Signing with Ethan Nicolle

1:00 p.m.—Hellboy, B.P.R.D., and Baltimore Signing with Mike Mignola, Cameron Stewart, and Tyler Crook

1:00 p.m.—Age of Reptiles Signing with Ricardo Delgado

2:00 p.m.—Berserk Signing with Eiko Tanaka (Studio 4C CEO)

2:30 p.m. – Green River Killer Signing with Jeff Jensen

3:00 p.m.– Domo Signing with Domo creator Tsuneo Goda *Ticketed by drawing

3:00 p.m. – Dragon Age Signing with David Gaider

4:00 p.m. – Empowered Signing with Adam Warren

4:00 p.m. – De:Tales Signing with Gabriel Bá and Fábio Moon

5:00 p.m.—Creepy and Eerie Signing with Dan Braun, Angelo Torres, and Christopher A. Taylor

5:00 p.m.—Dark Horse Horror Signing with Steve Niles (Criminal Macabre), Eric Powell (The Goon), and Paul Tobin (Colder)

6:00 p.m. – TNT’s Falling Skies Signing with series stars Noah Wyle, Moon Bloodgood, Will Patton, Drew Roy, Connor Jessup, Colin Cunningham, Sarah Carter, executive producer Remi Aubuchon and more! *Ticketed by drawing

Saturday, July 14 

10:00 a.m.—Darksiders Signing with David Slagle and Roger Robinson

10:00 a.m.—Aliens Colonial Marines Signing with Josh Williams

11:00 a.m.—Domo Signing with Domo creator Tsuneo Goda *Ticketed by drawing

12:00 p.m.—Joss Whedon Signing *Ticketed by drawing

1:00 p.m.—Whedonverse Signing with Andrew Chambliss, Georges Jeanty, Christos Gage, Jane Espenson, and Drew Greenberg

2:00 p.m – Avatar: The Last Airbender and Legend of Korra Signing with Michael DiMartino and Bryan Konietzko, Joaquim Dos Santos, Ki Hyun Ryu, and Gurihiru Studios artists Chifuyu Sasaki and Naoko Kawano *Ticketed by drawing

3:00 p.m. – Valve Signing with Bill Fletcher  (“Cave Johnson”), Laura Dubuk (“Caroline”), Andrew Wilson, and Wade Schin

3:00 p.m.—Concrete Park Signing with Tony Puryear and Erika Alexander

4:00 p.m.—Dark Matter Signing with Joseph Mallozzi

4:00 p.m.—Exile to Babylon Signing with Domagoj Mazuran, Matt Savelloni, and Helen Darras

5:00 p.m. – Mass Effect Signing with Sylvia Feketekuty, Chris Helper, and John Jackson Miller

6:00 p.m.—The Goon Signing with creator Eric Powell

Sunday, July 15 

10:00 a.m.—Beanworld Signing with Larry Marder

11:00 a.m.—Mass Effect Signing with Sylvia Feketekuty, Chris Helper, and John Jackson Miller

12:00 p.m.—The Guild Signing with Felicia Day *Ticketed by drawing

1:00 p.m.—The Strain Signing with Guillermo del Toro *Ticketed by drawing

2:00 p.m.—Emily the Strange Signing with Rob Reger and Jessica Gruner

3:00 p.m.—Doug Sneyd Signing

Events are subject to change.  Some restrictions apply.

The article Dark Horse Signings at San Diego Comic-Con July 11-12 appeared first on The Toonari Post - News, Powered by the People!.

At WonderCon, it was announced that Dark Horse would be bringing their most well-known characters to Felicia Day’s all-new YouTube channel, Geek & Sundry, beginning on April 2.

This highly anticipated premium YouTube channel and company, founded by Felicia Day and the producers of the hit web series The Guild, announced a lineup of six new original series premiering online starting April 2.

The channel will present the very best of indie geek culture by exploring fun themes in comedy, gaming, comics, music, and literature that are sure to captivate audiences every week. Geek & Sundry will also provide a social destination and community for fans connecting online and offline about nerd culture worldwide (GeekAndSundry.com).

Alongside Felicia Day (The Guild, Dr. Horrible, Eureka), Geek & Sundry will feature compelling original content by Wil Wheaton (Star Trek, The Big Bang Theory), Veronica Belmont and Tom Merritt (Sword & Laser), and Paul and Storm (w00tstock), as well as the hit web series The Guild, and the very first Dark Horse motion comics.

Dark Horse will air a new motion-comics episode every Wednesday, featuring characters like Hellboy, Conan the Barbarian, Usagi Yojimbo, and Gerard Way’s The Umbrella Academy. With all-new motion-graphics techniques and compelling storytelling, these are sure to set a new standard for motion comics. Directed by Erik Bruhwiler and produced by Mike Richardson, Dark Horse motion comics offer comics fans an experience unlike anything they have seen before.

“We’re so incredibly excited to produce and develop a channel based on what we think the fans will enjoy the most,” said Felicia Day, cofounder, producer, and star of Geek & Sundry. “From Dark Horse Comics to Wil Wheaton, there’s a killer team of talent on camera and off that will help build on the success of The Guild and Dragon Age: Redemption.”

“This is an exciting new extension of our comics business. Our technology is state of the art and the tales are extremely engaging. Add Erik’s genius to some of the greatest creators in the comics business and the project becomes irresistible.” Said Dark Horse President Mike Richardson.

Dark Horse Motion Comics launches on April 2, 2012, on YouTube, with Mike Richardson’s forty-minute horror epic, The Secret!

Viewers can subscribe to the channel now at www.youtube.com/user/geekandsundry.

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In part three of the interview with Cole Haddon, Cole discusses the way he saw the Jack the Ripper murders and how they influenced ‘The Strange Case of Mr. Hyde’. He also discusses the idea he wanted to get across when pitting the Ripper and Hyde against each other.

Toonari Post (TP): Other than classic horror, I also saw you delve into historical references with your antagonist, Jack the Ripper. I was thoroughly impressed with the details you put into the Ripper murders, even going as far as introducing an actual suspect in your comic as one of the plot devices, and especially the letter to “Boss”. What was your interest in the Ripper case, and why did you decide to have Jekyll and Hyde take on one of England’s most infamous murderers?

Cole Haddon (CH): I like the idea of pitting Victorian England’s greatest fictional monster against Victorian England’s greatest historical monster, which just sounded like fun. Jack the Ripper has a great place in history and clearly continues to fascinate people. I also think he’s become very mythologized; he’s almost as much of a fictional character as Dr. Jekyll and Mr. Hyde.

So, incorporating him seemed fun. I remember growing up and loving the first Elsewords’ graphic novel ‘Gotham by Gaslight’ where Batman confronts Jack the Ripper and, I think, that probably had a lingering influence on my smashing of these two characters together.

It also stems from the fact that I wanted to do a sequel to ‘The Strange Case of Dr. Jekyll and Mr. Hyde’, to return to a character that I loved so much as a kid, but did not feel I could add anything to the original novel. It was a pretty solid novel, but I don’t feel it necessarily holds up today, in terms of its relevance.

The debate between good and evil had been usurped by the concept of ego which Robert Louis Stevenson was wandering around and exploring long before Freud pondered that theory. So, tackling the sequel, to wonder how Hyde might have evolved after he began to learn and think, because you meet him as a very young identity in the novella.

Carrying that forward, I found a very interesting character, with regards to philosophy and how the world really is, but I didn’t really think he was the bad guy anymore. If anything, he was possibly right in the train of thought I had followed.  I needed a villain worse than him, and the wondrous thing about Victorian monsters is that very few of them are true, outright villains.

Maybe the Invisible Man and Mr. Hyde are just mad, evil sons of bitches, but most of the characters have some sympathy, and the Ripper seemed like a great antagonist for a character who already was the boogieman of London.

Could there be a villain that Hyde’s ego couldn’t bear the thought of? You know, a character that was proud of the thought that he was the baddest of the bad, that he was the guy that parents warned their kids about when they went to sleep, so they would behave. The fact that someone existed to challenge that title also seemed to be very appealing, and somehow Jack the Ripper fell into that.

He just seemed like the ideal choice, and that helped establish the identity of the ‘Strange Case’ series, as it hopefully moves forward, which is not only mashing up a lot of the Victorian monsters in science fiction that I enjoyed so much as a kid, but mashing it up with actual history, rather than allowing it to exist in a bubble.

TP: I really appreciate your time with me today, and I just want to congratulate you on an amazing story and the amazing job you’ve done. I absolutely loved the comic. It was incredible! I really want to wish you luck, and I hope you continue on further with your career!

CH: Alright! Thank you so much!

‘The Strange Case of Mr. Hyde’ collection comes out February 22 from Dark Horse Entertainment.

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In part two of the Cole Haddon interview, Cole goes into how he was able to put ‘The Strange Case of Mr. Hyde’ together, along with the many inspirations and influences he had when making the comic.

Toonari Post (TP): About your comic, ‘The Strange Case of Mr. Hyde’, your first issue was released in April 27 of 2011. Since then, you’ve released three other volumes, and now, in February, Dark Horse will be coming out with the four volume package. The one thing I was immediately impressed with was the artwork by M.S. Corley. How did you two come together for the project?

Cole Haddon (CH): M.S., I actually forgot what that stands for, but I know ‘M’ stands for Mike. At the time that the deal had been made and we were moving forward on ‘The Strange Case of Mr. Hyde’, my editor at the time, Dave Land, who has moved on from Dark Horse since then, sent me five or six really talented artists to consider, people who actually had name recognition. But a lot of it was, I don’t mean this as a slight, but it was the more conventional stuff.

There were a few that were a little out there, but for the most part, it was styles that I was familiar with. I knew from the start that I wanted ‘The Strange Case of Mr. Hyde’ to just look different, that when someone picked up the comic book to just immediately think that “this is something different, maybe I should pay attention to it.”

After going back and forth a little bit, they sent me Mike’s work, which I was immediately struck by because it didn’t look like other things that were out there. But he also didn’t have much of a history in comic books.

He had illustrated an eight-page story for Dark Horse Presents’ MySpace page. I believe that’s how it worked, which ironically enough involved Dr. Jekyll and Mr. Hyde and Jack the Ripper, very odd, but a much more monstrous version of everything.

So it struck me as different and special, and we got on the phone and didn’t stop talking for like 90 minutes about how much we loved classic horror movies. Of course, that inspired ‘The Strange Case of Mr. Hyde’, and by the end, it just seemed clear Mike wanted to work on the research and figure out how to put on the page what I saw in my head.

I haven’t regretted the decision since. He’s done nothing, but amazing work and pushed himself every step of the way, even when there could have been easier ways of doing things. He consistently challenged the instincts that both of us had.

TP: At the point when Adye and Jekyll meet up with Newcomen in the Museum of Waxworks, that made me think of ‘The House of Wax’ with Vincent Price. What would you say your biggest influence for making this comic is?

CH: I think probably as an aesthetic storyteller, everything has come, for me, from film. Film has led me to every classic book I’ve ever read. It’s sort of the launching pad to my entire existence. Probably several years ago, upon seeing ‘Pulp Fiction’, it was the first time I realized that my natural instinct to mash things together, just because I thought it was cool, actually could work.

For instance, something that Tarantino has been doing ever since, is mashing together genres and films that have no business being in the same movie, but somehow works. I could only dream that I’m remotely effective as he is.

But that was really the launching point for combining a love of a lot of classic horror from Universal Pictures Monster movies of the ’30s, ’40s, and ’50s, which had a huge impact on this series, to the Hammer Horrors to the ’50s, ’60s, and early ’70s before they went off the rails.

That had a huge impact. In fact, there is a Peter Cushing and Christopher Lee cameo in the series if you look very carefully. It was always the intention to draw inspiration to from the films that had such an impact on me as a child, to somehow reintroduce that feeling, that love of Gothic horror to a reader who might not be all that familiar with it.

The colorist, Jim Campbell, did some remarkable work, I think. He was probably chiefly responsible for invoking the feel of those Hammer films, in particular with the color pallet he chose. Contrast, saturated, and de-saturated colors between the upper-class and the lower-class to thematic colors for characters, the use of the brightest, most garish red we could come up with for blood that is never diluted by shadows or distance.

Blood, just like in all of the Hammer films, just has to scream at the audience. Even the ‘House of Wax’ reference is correct. Madame Tussauds is a real location.

Because the film goes hand-in-hand with the comic book, it was important that there were set pieces, major set pieces that people would recognize and would be exciting to see on the screen, and Madame Tussauds was one of those just for what it offered in terms of action, in terms of being able to actually have a visual representation of what the popular idea of what Hyde is.

There is also the fact that I love the Vincent Price ‘House of Wax’ and go all the way back to the Michael Curtiz’s ‘Mystery of the Wax Museum’, which is an old, two-color inspiration for the ‘House of Wax’.

The article The Strange Case of Mr Hyde: Cole Haddon Interview, Part 2 appeared first on The Toonari Post - News, Powered by the People!.

Recently, Toonari Post spoke with Cole Haddon, author of ‘The Strange Case of Mr. Hyde’. The comic, by Dark Horse, was a successful four volume series which has recently breached Hollywood and will become a full-length motion picture. Cole Haddon explained to us how he got his start and how he came up with the story behind ‘The Strange Case of Mr. Hyde’.

Toonari Post (TP): How did you start your current career?

Cole Haddon (CH): I moved out here to L. A. six years ago with the intention of breaking into the film business as a screenwriter. That took about three years with the help of friends I made, because I got representation and got some attention on some scripts I was working on. That led to reaching the comic book world to a meeting with Dark Horse Entertainment, and that’s how I became a comic book writer. But, for the screenplay stuff, that was just hard work and people eventually liking what I was doing, and it paid off.

TP: How long have you been focused on screenwriting, and then evolved to comics?

CH: As long as I can remember, I’ve always wanted to be a storyteller. I think I’ve just gone with that title as an umbrella for what I wanted to do, because I drifted between so many different mediums. When I was 13, I thought I was going to be a comic book writer, and I was also an illustrator.

So I was trying to break into the business just as the image boom was exploding around the country. But it took me forever to draw a comic book. Where other people do it quite naturally, I would have been spending two years to do two issues. But I enjoyed the stories so much and transitioned into screenwriting, and then went off to college where I then again transitioned into writing novels and short stories.

Until about 28 or so, I just realized film was where my heart had always been, and I was just running in circles around it, because I think in Michigan, where I’m from, you’re largely told that’s a dream for other people, that you should just go get a job at General Motor or if you get your degree and become an engineer, or a lawyer, or doctor, or something simple and easy and clearly lucrative.

So I ran from diving in for a long time, and I just gave up on running and got in the car and drove out here, and I’ve been here ever since. Very long and winding, and not at all a direct path, but I always knew that I wanted to be telling stories, and that, so far, looks like what I have to do.

TP: When you went into making the comic, was there anything specific you wanted to introduce into the comic world? What did you feel was missing and that you wanted to add in the comic book industry?

CH: I’ve been a comic book fan since I was probably eight and worked at comic book stores, and like I said, I thought I was going to work in the comic book industry from a very young age. That was mostly from the love of super hero comic books, and as I got older, though, I found I wanted more and more sophisticated stories, which weren’t always to be found in the super hero series.

So, I think when I finally got the opportunity to move into the medium, thanks to Dark Horse, I really wanted to use it as a means to explore themes that I wasn’t really allowed to touch in my screenwriting career.

In many ways, I call comic books my independent film because it pays like shit, but the satisfaction is through the roof. I control everything, and you get to create your own property, such as ‘The Strange Case of Mr. Hyde’.

So having that freedom to explore ideas, sometimes challenging ideas about society and religion and politics and many of these things that I found in the medium that I wanted to play with, and I didn’t necessarily see enough. There is much of it out there, but it’s stuff I had to look for. So when I finally got into it, I wanted to, at least, focus on that myself.

The article The Strange Case of Mr. Hyde: Cole Haddon Interview, Part 1 appeared first on The Toonari Post - News, Powered by the People!.

Dark Horse rolls out the announcement of all four titles that will be featured in two different comics to be given away to thousands of fans on May 5, 2012.

First comes a special flip book featuring both Felicia Day’s gaming web series turned comic, The Guild, and Dark Horse’s best-selling comics continuation of Joss Whedon’s iconic television series Buffy the Vampire Slayer! Buffy has never needed a vacation as badly as she does now, with the world overrun with zompires and other fallout from Season 8.

After an old friend suggests arelaxing getaway from all things that go bump in the night, it turns out to be harder than she could ever expect for a Slayer to get a day off!

Felicia Day, creator of The Guild, continues to bring on the funny with high jinks from her diverse group of gamers when the Guildies struggle to find a meeting place they can all agree on. A little in-game battle becomes the deciding factor, and the circle follows the decree of the winner: the beach?!

Next up is one of the biggest flip books we’ve ever published, when Zack Whedon brings you tales of the coolest guy in the galaxy and the most charming rebel in the ’verse! That’s right; we’ve paired Star Wars with Joss Whedon’s Serenity.

Han Solo and Chewbacca have a falling-out after a deal with their slickest—and shadiest—customer goes bad. But when the client gets designs on the Millennium Falcon, Han and Chewie present a united front that can’t be beat.

Meanwhile, Captain Malcolm “Mal” Reynolds is no stranger to jobs gone wrong himself. But when the chips are down, he’s able to rely on the amazing, odd, and diversely talented crew of Serenity.

Dark Horse Free Comic Book Day 2012: Four great stories for the price of, well, none!

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One of the most popular and critically acclaimed cable television shows of 2011 was Game of Thrones, created by David Benioff and D. B. Weiss for HBO. The hit series is based on A Song of Ice and Fire, the best-selling fantasy novel series by George R. R. Martin.

Dark Horse Deluxe has recently been able to announce, in partnership with HBO, a vast Game of Thrones product line debuting in the spring of 2012, leading up to the show’s second-season premiere in April. Licensed product categories derived from the series will span a large range, including statues, busts, and action figures; prop and jewelry replicas; and barware, stationery, and other collectibles.

This exciting new line of products debuts with a range of branded magnets, patches, playing cards, coaster sets, and more. “We are delighted to be part of HBO’s licensing roster for Game of Thrones. We are big fans of the television adaptation,” said Dark Horse’s VP of Product Development, David Scroggy. “We are working closely with HBO to develop a line of products inspired by the series that will delight the fan base.”

Look for the first round of items in Diamond’s January Previews catalog; they will arrive in specialty retailers everywhere in March of 2012. Based on the best-selling fantasy book series A Song of Ice and Fire, by George R. R. Martin, Game of Thrones debuted on HBO in March 2011. In a land where summers span decades and winters can last a lifetime, trouble is brewing.

From the scheming south and the savage eastern lands, to the frozen north and the ancient Wall that protects the realm from the darkness beyond, two powerful families are engaged in a deadly cat-and-mouse game for control of the Seven Kingdoms of Westeros. As betrayal, lust, intrigue, and supernatural forces shake the four corners of the Kingdoms, their bloody struggle for the Iron Throne will have unforeseen and far-reaching consequences.

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The wait is finally over for fans of Joss Whedon fantasy, as Dark Horse and Twentieth Century Fox Consumer Products announce the arrival of Buffy the Vampire Slayer, Dollhouse and Angel in the Dark Horse digital store.

As rave reviews and support for Buffy the Vampire Slayer: Season 9 and the all-new series Angel and Faith continue, casual and hardcore fans will now be able to experience previous Buffy, Angel, and Dollhouse comics on all-new platforms! Buffy, Angel and Dollhouse are licensed through an agreement with Twentieth Century Fox Consumer Products.

Now, fans are encouraged to head over to Digital.DarkHorse.com to download issues of all three of these titles today, with multiple issues available for purchase. Fans can now download the first twenty issues of Buffy the Vampire Slayer: Season 8 #1-20, as well as Buffy The Vampire Slayer: Season 9 #1,2 &3.

“This marks another important turning point in Dark Horse’s digital initiative,” said Dark Horse president and founder, Mike Richardson. “Joss Whedon’s incredible characters have become some of our most popular, and now fans from all over the world can see them like they never have been seen before!”

“Our history with Dark Horse has been incredibly successful, giving fans of these characters all new ways to enjoy their stories,” said Jeffrey Godsick, president of Twentieth Century Fox Consumer Products. “This transition opens a whole new chapter in our relationship and will give readers an exciting opportunity to experience the comics on some of the hottest digital platforms.”

Going forward, Dark Horse will release a mix of new and backlist titles weekly. Stay in the know on all of your favorite titles, and sign up for the Dark Horse Digital newsletter at https://Digital.DarkHorse.com.

Even if you’re not a Whedon fan, there’s still new kicks in the horizon. Venom is on the run from his country and he’ll have to turn to the one person he despises the most for help in your first look at Venom #11.

From critically acclaimed writer Rick Remender and red-hot artist Lan Medina, Venom has nowhere left to go and when he’s able to finally find some help; it may be the worst decision he’s made yet. That’s right, it’s the team-up you never thought you’d see as Venom teams with Jack-O-Lantern. How bad can things be that Flash Thompson has to side with his archenemy? Find out this December, in Venom #11.

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The second issue in the “Orchid” series came out last week on November 9, and it is already gaining interest. Set in a dystopian future, “Orchid” follows the life of a prostitute and her little brother as they struggle to survive. In the first comic she meets up with Simon, who has been involved in a group trying to fight those oppressing their human slaves that they use for manual labor.

Similar to the first issue, “Orchid” #2 starts off by giving some more details into the history of this universe and how things got to where they are. The details are gruesome and compelling, adding some depth to the story. By juxtaposing the present with the past, it helps the reader to slowly gain more insight into the motivations of the characters, and adds to the storyline.

The idea behind the story is one that has been told before, but the author, Tom Morello, has added some interesting elements, such as the fantastic creatures and the sometimes unexpected interactions between the characters. All of the animals have become behemoth mutant creatures, pushing the humans to the bottom of the food chain.

In addition to Morello’s work with the “Orchid” comic, he has been the guitarist for Rage Against the Machine, and after leaving the band, also played in Audioslave and Street Sweeper Social Club as well as having a solo career as The Nightwatchman. Morello is a strong supporter of the Occupy movement, and his views on the oppression of the underclass are made quite clear in “Orchid.”

He feels very strongly about protesting against the oppression of the underclass, and has even begun travelling around to various cities to sing at the different Occupy demonstrations to help bring awareness to the movement and solidarity to those who are protesting.

Music is a large part of his life, and he has managed to bring that passion to his “Orchid” comic as well. He has provided theme music for each of the first two issues, and this innovative idea adds a nice unexpected element to the story. While it is not clear exactly how the audio is supposed to accompany the comic itself, the tone of the music does seem to reflect the tone of the story.

In the music for the second issue of “Orchid,” the track titled “The Deluge” starts off softly with the sound of waves gently lapping up against the shore. Then as the track continues, a single guitar begins playing, followed by a full orchestra. The music is morose and poignant, and it creates just the right mood for the story.

Because it is only four minutes and sixteen seconds long, it is not really possible to read the entire issue before getting to the last page. The track seems to be a musical rendition of this part of “Orchid” and even though it may not be understood by everyone, it is certainly a nice addition to the story.

Scott Hepburn is the main artist for “Orchid” and he does very detailed drawings. One of the visual appeals to this series is all of the strange creatures, such as the six-legged bear with a scorpion tail that is featured on the cover. Hepburn first worked on several Star Wars comics, but he has been very excited to work on this project with Morello and to draw numerous fantastic creatures, according to an interview with comicbooked.com.

The second issue of “Orchid” delves deeper into the story, ending with a compelling mystery that is sure to leave readers waiting anxiously for the next issue to come out. While “Orchid” is not groundbreaking as far as the theme of the story goes, it is an enjoyable read, and is very visually appealing.

The addition of the musical soundtrack for each issue adds a certain depth that would otherwise be missing. “Orchid” is a good story that compels the reader to consider wealth and class, not only in the context of the comic, but in our society as well.

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Set in 1956, the book Hellboy: House of the Dead, centers on the emotional events of Hellboy’s growth both in and out of the wrestling ring. Battling guilt while in a literal house of horrors, our reluctant hero finds himself faced with some of horrors most classic creatures in a mash up of monsters that moves the plot along quite nicely.

Hellboy comics have always had a distinct flavor all its own; mostly due to the element of action combined with some form of biblical or fantasy horror. Fan will recognize the writer and artist team of Mike Mignola and Richard Corben and it clearly shows that this was an excellent partnership in many respects.

Available for pre-order with a preview from Dark Horse Comics, the duo of Mignola and Corben are supported by coloring from Dave Stewart and lettering by Clem Robins. The artwork is a fresh take on the Hellboy horror, action drama, feeling more up to date than in past comics. Mignola clearly knows what he’s doing and showcases classic Hellboy nonchalance mixed in with excellently timed Spanish dialogue and wrestling.

This is a hard cover release that’s emotionally driven and well plotted. Hellboy’s character is revealed more as the story progresses rather than having him simply destroy everything in his way as a new reader of Hellboy might assume. The choices that Hellboy has made prior to the start of the comic regarding the death of a friend are shown in a few select flashbacks that emphasize the loss of self due to events outside of his control.

A hint at the enemies within is obvious on the front cover but beneath the surface the villains in this story, outside of their horror characteristics, also possess an emotional depth that is not in keeping with their traditional stereotypes. Excellent use of foreshadow and characterization that readers will pick up on will add an element of suspense to the overall plot which keeps fans guessing. For some of the villains you’ll scoff at the slightly predictable dialogue but the plot for how Hellboy dispatches his enemies is really the star here.

Hellboy fights hard against his enemies using brute strength and reluctant acceptance born of a shoulder heavy weariness.  What is less expected is how he also sympathizes with select combatants in a surprising twist as Hellboy himself will come to realize. An enemy can also turn into a friend, or at least, a drinking buddy.

The real enemies here that need fighting are less obvious but no less important to Hellboy as he journey’s forth through the pages. Hellboy fights and he survives, growing up and making tough choices that many people can sympathize with greatly. His real enemy is life and death in many ways, because he struggles against its forces all the time.

Throughout the story, the feeling is that Hellboy just can’t catch a break, as if he’s always going to up against a constant stream of enemies from multiple sides and plots within plots to do him harm. The lesson to take away from this particular hard cover issue of Hellboy is that not everything is within your control.

Life is what you make of it. Hellboy seems to know this and therefore fights the good fight. The ending might leave some readers scratching their heads but overall, despite the sense of not belonging to his reality, Hellboy knows that where he treads very few can follow. His path is one of hell and that is where he is bound.

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