Lo, there shall come a great battle

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Click the link if you dare.

Briefs & Boxers! 06/16/10

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This week: Boom! Studios dives into digital-distribution breach; more on green, pink and blue people and race in comics; Marvel and DC Comics advertisement behemoths for September; the clunkiness of Ex Machina; and a troika of must-read Grant Morrison reprints.

Kevin Huizenga’s stash of old comics IS pretty f***in’ cool

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Sean T. Collins stumbled upon a bunch of old strips and what nots that Kevin Huizenga had been digitally squirelling away, and got very excited, and who can blame him. They are aces.

Casanova returns from Marvel

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Matt Fraction and Gabrial Bá’s stylish espionage thriller Casanova is coming back this July from Icon, Marvel’s creator-owned imprint, after a long hiatus. Previously published in a limited palette at Image, this newly remastered version is now in full color. Marvel sent out some preview pages of the this morning and it looks a-okay.

I’m Comic Sans, As*hole.

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Listen up. I know the shit you’ve been saying behind my back. You think I’m stupid. You think I’m immature. You think I’m a malformed, pathetic excuse for a font. Well think again, nerdhole, because I’m Comic Sans, and I’m the best thing to happen to typography since Johannes fucking Gutenberg.

Dark Horse, Toshiba, and USA Today announce DH:HD

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Via pr, a new initiative between publisher Dark Horse, electronics giant Toshiba, and newspaper USA Today called DH:HD (Dark Horse: High-Def), but it’s not quite clear what it is. It will bring comics to multiple platforms — desktop, digital and doorstep — and be like Wednesday Comics (which ran a Superman page in the online USA Today after a print launch) and will be viewable on Toshiba’s giant HD TVs. It will also involve Dark Horse top properties. Hm.

The program kicked off today with a feature on Janet and Alex Evanovich’s new graphic novel, TROUBLEMAKER, which appears to be a digital comic with some kind of Flash interface looming over a profile of the Evanovii. Okay then! PR below:

Nice Art: Ted McKeever’s META 4

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“What’s different [about META 4],” McKeever said, “is the lack of a specific central theme or category. In the past, I would find myself wanting to do a ‘political drama’ or an ‘apocalyptic horror’ tale. But here, I am allowing myself to weave through [different] subjects, and pull into it whatever is needed based on that given scenario. The challenge is to make it all work.”The key to that, he said, lies with the characters. “[They] have to be designed in such a way that they come across as subtly ‘real’ and yet malleable enough to show extreme emotions when called for,” McKeever said.<