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Cyberpunk 2077: Blackout (2022)
It hurts. Night City hurts. The suffering runs deep and the deeper one falls, the longer the self-prescribed dreams play. Fortune, hope, love–all made possible by DMS technology. But not everyone desires a happy ending. A braindance repairman discovers the answer to pain . . . comes in a blackout.
The third comic series from Dark Horse based on CD Projekt Red’s video game Cyberpunk 2077.
Justice League (1987)
The 1986 company-wide crossover “Legends” concluded with the formation of a new Justice League. The new team was dubbed “Justice League” then “Justice League International” (JLI) and was given a mandate with less of an American focus. The new series, written by Keith Giffen and J. M. DeMatteis with art by Kevin Maguire (and later Adam Hughes), added quirky humor to the team’s stories. In this incarnation, the membership consisted partly of heroes from Earths that, prior to their merging in the Crisis on Infinite Earths, were separate. The Giffen/DeMatteis team worked on Justice League for five years and closed out their run with the “Breakdowns” storyline in 1991 and 1992. The series’ humorous tone and high level of characterization proved very popular.
Conan (1990’s)
Marvel Comics introduced a relatively lore-faithful version of Conan the Barbarian in 1970 with Conan the Barbarian, written by Roy Thomas and illustrated by Barry Windsor-Smith. Smith was succeeded by penciller John Buscema, while Thomas continued to write for many years. Later writers included J.M. DeMatteis, Bruce Jones, Michael Fleisher, Doug Moench, Jim Owsley, Alan Zelenetz, Chuck Dixon and Don Kraar.
Creepy V1 (1964)
Creepy was an American horror-comics magazine launched by Warren Publishing in 1964. Like Mad, it was a black-and-white newsstand publication in a magazine format and thus did not require the approval or seal of the Comics Code Authority. The anthology magazine was initially published quarterly but later went bimonthly. Each issue’s stories were introduced by the host character, Uncle Creepy. Its sister publications were Eerie and Vampirella.
Justice League of America V1 (1980’s)
In the early 80’s, George Pérez, Don Heck, and Rich Buckler would rotate as artist on the title. The double-sized anniversary issue #200 (March 1982) was a “jam” featuring a story written by Conway, a framing sequence drawn by Pérez, and chapters drawn by Pat Broderick, Jim Aparo, Dick Giordano, Gil Kane, Carmine Infantino, Brian Bolland, and Joe Kubert. Bolland’s chapter gave the artist his “first stab at drawing Batman.” Pérez would leave the title with issue #200 to concentrate on The New Teen Titans although he would contribute covers to the JLAthrough issue #220 (November 1983). The 1982 team-up with the Justice Society in issues #207–209 crossed over with All-Star Squadron #14–15. A Justice League story by Gerry Conway and Rich Buckler originally intended for publication as an issue of All-New Collectors’ Edition saw print in Justice League of America #210–212 (January–March 1983).
Seeking to capitalize on the popularity of their other team books, which focused upon heroes in their late teens/early 20s, Gerry Conway and artist Chuck Patton revamped the Justice League series. After most of the original heroes fail to help fend off an invasion of Martians, Aquaman dissolves the League and rewrites its charter to allow only heroes who will devote their full-time to the roster. The new team initially consists of Aquaman, Zatanna, Martian Manhunter, Elongated Man, the Vixen, and a trio of teenage heroes Gypsy, Steel, and Vibe. Aquaman leaves the team after a year, due to resolving marital problems, and his role as leader is assumed by the Martian Manhunter.
The final storyline for the original Justice League of America series (#258–261), by writer J. M. DeMatteis and artist Luke McDonnell, concludes with the murders of Vibe and Steel at the hands of robots created by long-time League nemesis Professor Ivo, and the resignations of Vixen, Gypsy, and the Elongated Man during the events of DC’s Legends miniseries, which sees the team disband.
Strange (2022)
A new Sorcerer Supreme rises! Doctor Strange is dead! And a new Sorcerer Supreme has taken the title, or should we say Sorceress? Haunted by her recently returned memories, Clea longs to bring Stephen Strange back from the dead! But when a mysterious group attacks the magical realm, Clea must rise to the duties of Sorcerer Supreme. For she is now the sole protector of Earth against magical threats.
Redneck (2017)
The Bowmans are VAMPIRES who have quietly run the local barbecue joint in their small town for years, living off cow’s blood. Their peaceful coexistence ends as generations of hate, fear, and bad blood bubble to the surface–making it impossible to separate man from monster!
Superman’s Girl Friend Lois Lane (1970’s)
By the 1970s, the stories began to reflect growing social awareness: Lois became less fixated on romance and more on current issues. In the controversial story “I Am Curious (Black)!” in #106 (November 1970), Lois uses a machine that allows her to experience racism firsthand as an African American woman. The series saw the debut of the Silver Age heroine “Rose & The Thorn” in a backup feature that ran from #105 (October 1970) through #130 (April 1973). Editor E. Nelson Bridwell had several characters and plot concepts from Jack Kirby‘s “Fourth World” appear in issues #111–119 (July 1971 – February 1972). Lois’ sister, Lucy Lane, was believed to have died in issue #120 (March 1972) but the character was later revived.
In 1974, the title ended, as Superman’s Pal Jimmy Olsen had earlier that year. Both would be merged into The Superman Family, which chronologically continued from the elder title, premiering with issue #164 (April–May 1974). The release of the last issue of Superman’s Girl Friend, Lois Lane was delayed for several months due to a nationwide paper shortage.
Tales to Astonish (Silver Age)
Tales to Astonish was published from January 1959 to March 1968 . It began as a science-finction anthology that served as a showcase for such artists as Jack Kirby and Steve Ditko. It became The Incredible Hulk with issue #102 (April 1968). Its sister title was Tales of Suspense.
Following his one-shot anthological story in #27 (Jan. 1962), scientist Henry Pym returned donning a cybernetic helmet and red costume, and using size-changing technology to debut as the insect-sized hero Ant-Man in #35 (Sept. 1962). The series was plotted by Lee and scripted by Lieber, with penciling first by Kirby and later by Heck and others. The Wasp was introduced as Ant-Man’s costar in issue #44 (June 1963). Ant-Man and Pym’s subsequent iteration, Giant-Man, introduced in #49 (Nov. 1963), starred in 10- to 13-page and later 18-page adventures,
The Hulk, whose original series The Incredible Hulk had been canceled after a six-issue run in 1962-63, returned to star in his own feature when Tales to Astonish became a split book at issue #60 (Oct. 1964),]after having guest-starred as Giant-Man’s antagonist in a full-length story the previous issue. The Hulk had proven a popular guest-star in three issues of Fantastic Four and an issue of The Amazing Spider-Man. His new stories here were initially scripted by Lee and illustrated by the seldom-seen team of penciler Steve Ditko and inker George Roussos. This early part of the Hulk’s run introduced the Leader, who would become the Hulk’s nemesis, and this run additionally made the Hulk’s identity known, initially only to the military and then later publicly.
Sin City – The Big Fat Kill (1994)
Sin City – The Big Fat Kill is a five-issue limited series published by Dark Horse Comics in November 1994. The series, written and Illustrated by Frank Miller, is one of three from Sin City related in the film Sin City. In the film, Clive Owen plays Dwight, Brittany Murphy plays Shellie, Benicio del Toro plays Jack, Rosario Dawson plays Gail, Devon Aoki plays Miho, Alexis Bledel plays Becky, and Michael Clarke Duncan plays Manute.
A notable difference from the comic version is that Becky survives the final gunfight by hiding in a nook in the alley, leaving her alive for the final “epilogue” scene of the movie which ends when she meets The Salesman from The Customer is Always Right, who had been introduced in the movie’s prologue. He then offers her a cigarette just like he did in The Customer is Always Right, and Becky seems to sense why he’s there and tells her mother she loves her before hanging up.
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