The series is set in the year 2099, in a dystopian possible future of the Marvel Universe, and features Kenshiro “Zero” Cochrane, a hacker who was killed but resurrected as the Ghost Rider — his mind controlling a powerful and well-armed robot. As with most of the Marvel 2099 titles, the protagonist was a futuristic version of a commercially successful Marvel Universe character. The series was heavily influenced by cyberpunk science fiction.
The character was created by Amy Reeder, Brandon Montclare and Natacha Bustos and first appeared in Moon Girl and Devil Dinosaur #1 (January 2016).
The genesis of the character came from Mark Paniccia and Emily Shaw who were a fans of the character Devil Dinosaur and had hired Montclare and Reeder to pen the basis for a new series that involved the character ending up in modern day. They came up with the idea of Devil Dinosaur interacting with a girl and fell in love with the idea of working with a hero who wasn’t a “regular cape-and-tights superhero”.
They also viewed the series as a direct sequel to the Moon-Boy and Devil Dinosaur series from Jack Kirby hence the first villains that Moon Girl and Devil Dinosaur face are the Killer-Folk.
Artist Natacha Bustos found the character a relief from the norm of other typical superheroes. She was primarily inspired by the clear diversity that Moon Girl and Devil Dinosaur promoted, further comparing the character Lunella to herself. She compared her story to a “Ghibli one” due to the immense relationship between the title characters.
The story deals with Smax and Toybox returning, via magical teleportation, to Jeff’s magically enchanted homeworld. Smax, now a city dweller, seems embarrassed by his unsophisticated, sword-and-sorcery roots. They attend Smax’s uncle’s funeral where Jeff introduces Robyn as his wife, though no such relationship exists. At this point Jeff’s sister Rexa Macksun is introduced, dressed in the typical garb of a female fantasy barbarian such as Red Sonja and just as tall and physically impressive as her brother with the same blue skin and white hair.
After Claremont’s run, the X-Men were divided into two color-coded squads, with a Blue team headlining the adjectiveless X-Men title, while the Gold team, consisting of Archangel, Colossus, Jean Grey, Iceman and Storm, appeared in Uncanny. This roster was later joined by Bishop, another refugee from the future. After Claremont’s departure, Jim Lee continued as plotter, while John Byrne scripted from #281 to #286. Byrne was replaced as scripter from #286 by Scott Lobdell, who was fully credited as writer from #289. The “X-Cutioner’s Song” crossover was released in the fall of 1992 and resulted in the outbreak of the Legacy virus, a mutant-specific plague which continued as a story element in X-Men comics until 2001.
Everyone who was invited to the house knows Walter—well, they know him a little, anyway. Some met him in childhood; some met him months ago. And Walter’s always been a little…off. But after the hardest year of their lives, nobody was going to turn down Walter’s invitation to an astonishingly beautiful house in the woods, overlooking an enormous sylvan lake. It’s beautiful, it’s opulent, it’s private—so a week of putting up with Walter’s weird little schemes and nicknames in exchange for the vacation of a lifetime? Why not? All of them were at that moment in their lives when they could feel themselves pulling away from their other friends; wouldn’t a chance to reconnect be…nice?
The uncontrollable rage of the Hulk has reached an all-new level, and nobody – including the Avengers – is prepared to handle it. But is it really the Hulk that people should be afraid of, or is there something missing to this puzzle? Join the creative team of Donny Cates and Ryan Ottley as they look to the stars for the next era of HULK!
In 2004-2005, artist Jim Lee, who had recently concluded the Batman: Hush storyline with Loeb, provided the artwork for a Superman story by writer Brian Azzarello. The story, Superman: For Tomorrow, ran for twelve issues and was collected in an Absolute Edition hardcover in May 2009.
With the publication of issue #226 (April 2006), the series was canceled as part of the company-wide Infinite Crisis event. The Adventures of Superman was returned to its original title, Superman, with issue #650 the following month.
In November 2011, a third volume of Superman was launched with issue #1 as part of The New 52 company-wide reboot.
Hillbilly is a fantasy adventure series by Eric Powell (creator of The Goon), set in a fantasy realm drawing less from Tolkien and more from the myths and folklore of rural Appalachia. Unlike The Goon, it’s more-or-less kid-friendly, if still reasonably dark. Rondel is a wanderer, travelling from place to place.
Moon Knight vol. 5, was launched in April 2006, written by Charlie Huston with art by David Finch. The series revises Marc Spector’s history by saying he fought in the Gulf War. Starting with issue #14 of this series, Mike Benson took over writing duties while Huston acted as a story/plot adviser according to Benson. The 2006 series ended with #30 (July 2009), and only one Annual issue for the series was printed in 2008. Peter Milligan wrote a 2008 seasonal one-shot titled Moon Knight: Silent Knight with artist Laurence Campbell.
Writer Brian K. Vaughan conceived Saga in his childhood, calling it “a fictional universe that I created when I was bored in math class. I just kept building it.” He was inspired by such influences as Star Wars,Flash Gordon and children’s books, and has also invoked the awe and wonder of first seeing the Silver Surfer, which seemed an “incredible and different” concept to him. It was not until his wife became pregnant with his second daughter, however, that he conceived of the protagonists, the winged Alana and the horned Marko, two lovers from warring extraterrestrial races who struggle to survive with their newborn daughter, Hazel, who occasionally narrates the series. It was also at this point that the central theme that Vaughan wanted for the book emerged. Vaughan explains, “I wanted to write about parenthood, but I wanted to Trojan-horse it inside some sort of interesting genre story, to explore the overlap between artistic creation and the creation of a child.”] Vaughan, who intended to return to writing a comics series following the 2010 conclusion of his previous series, Ex Machina, and who notes that the publication of Saga #1 coincided with the birth of his daughter, saw parallels between the caution advised by colleagues against launching a new book in the poor economy and those who cautioned against bringing a new child into the world.
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