Tonight it’s an all new episode, by Cole Sanchez and boarded by Rebecca Sugar who offered this charming preview image.
August 17-25, members of Canadian independent comic book collective Colosse tour from San Francisco to Vancouver BC with multimedia readings of their acclaimed and edgy works, followed by book signings. Authors include Sophie Yanow (In Situ, a graphically daring, poetic journal strip) and Francois Samson-Dunlop and Alexandre Fontaine Rousseau (Pinkerton, an indie-rock rom com about getting over a truly 90s breakup in a post-90s world). Don’t miss this rare West Coast appearance!
Oz-o-phile Eric Shanower has created this nice variant cover for the first issue of Marvel’s ROAD TO OZ adaptation, which he’s also writing. The insides are drawn by Skottie Young, so it’s win all around.
You may recall that this is the first proper sequel to THE WIZARD OF OZ, written by L. Frank Baum, and finds Dorothy returning to Oz and confronting rising tensions with rising third world countries and issues of gender and identity. And I’m not even kidding.
After WALKING DEAD #100 became the best selling comic in 15 years, folks wanted to go back and read the first three parts of the storyline, in WALKING DEAD #97-99. Thus a second printing has been necessitated. The new printing will have new covers, by Charlie Adlard, depicting the villain Negan and his now-infamous baseball bat, Lucille.
A while ago we told you about a new service called Comic Rocket that had indexed over 2000 webcomics, and functioned as a portal to aggregate your webcomics reading in one handy place. Well since then they’ve added some 7000 comics by teaming up with Comic Fury, a free web-hosting service for webcomics. PR below:
Oh MAN! Director Peter Jackson has confirmed that he’s going to use extra footage and the Appendices and make THREE WHOLE MOVIES OF WHITE COUNCIL GOODNESS instead of two:
Here’s a couple of stories on the evolution of those symbols used for the various sports at the Olympics. They began with the 1964 Olympics in Tokyo, but attained a cleaner, more Saul Bass-like effect for Munich in 1972, as designed by a fellow named Otl Aicher. These proved to be more lasting and iconic: