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Nicola Scott/Image Comics
Nicola Scott/Image Comics

The Most Interesting Comics of the Week

Nicola Scott/Image Comics
Nicola Scott/Image Comics

Every week I write about the most interesting new comics hitting comic shops, bookstores, digital, and the web. Feel free to comment below if there's a comic you've read recently that you want to talk about or an upcoming comic that you'd like me to consider highlighting.

Black Magick #1

By Greg Rucka and Nicola Scott
Image Comics 


Black Magick opens with a group of half-naked men and women performing an ancient Wiccan ritual in a park. Suddenly, a cell phone starts ringing, and one of the women has to leave to perform her duties as a homicide detective. This is a police procedural with a dash of the occult, and it's described by writer Greg Rucka as “witch noir.” You’ll want to give this one a chance due to the creative team who have been preparing this book for years—and it shows.

Greg Rucka is an acclaimed writer whose other comic for Image, Lazarus, is one of the standouts in a quality publishing lineup. Detective Rowan Black is the kind of strong but flawed female lead he’s been successfully writing since books like Whiteout and Queen & Country in the late 1990s. Nicola Scott has been primarily drawing comics for DC like Wonder Woman and Earth-2. This is her first time working on a creator-owned comic for Image, and it may be the book that makes her a star. The book is stunningly realistic and painted in noirish black and white washes that occasionally give way to surprising hints of color. See for yourself in this extensive preview.

Hellboy & the BPRD 1953: The Phantom Hand & The Kelpie

By Mike Mignola, Ben Stenbeck and Dave Stewart
Dark Horse Comics 


Both Hellboy and even its main spin-off title, B.P.R.D., are deep into epic story lines that have been building for years. They may not be the easiest comics for new readers to dip in and out of, but that doesn’t mean Mike Mignola won't give opportunities for the casual reader to try. This new one-shot combines two self-contained short stories from Hellboy’s early days with the Bureau for Paranormal Research and Defense. If you’re new to Hellboy, or just prefer to pick up an occasional story with minimal investment, this book encapsulates a lot of what is great about the comics.

“The Phantom Hand” and “The Kelpie” are both set in 1953 and are delightfully eerie tales in the vein of early 20th century short stories like “The Monkey’s Paw.” Hellboy is just barely an adult as he tags along with his adoptive father and B.P.R.D. director Trevor Bruttenholm in England to investigate a ghost story involving a disembodied hand. Hellboy creator Mike Mignola is joined here by artist Ben Stenbeck, with whom he has recently collaborated on the Frankenstein Underground series.

Titan

By François Vigneault
Study Group Comics


Like the best futuristic science-fiction, François Vigneault’s webcomic Titan has a lot to say about the world that we live in right now. When João da Silva, a middle manager, is sent to inspect a mining site on the moon of Saturn, he finds himself faced with union gripes and a growing unrest between the genetically-enhanced Titan workers and their Terran management. João must find a way to increase profits or else lay off 250,000 Titans. The problem is, the way the Titans' bodies have adapted to the moon's gravity makes them twice the size of normal humans and incapable of physically moving or functioning on Earth. Therefore, what do you do with thousands of large, angry, and unemployed Titans?

Vigneault publishes Titan on the webcomic collective Study Group Comics (whose website he also art directs). When complete, it will be a 200+ page graphic novel, but in the meantime it's serialized in chunks. It has an intriguing social and political premise, and an unusual romance between João and Phoebe, the Titan liaison who towers above him, is just beginning.

Check out the first four parts of Titan here and, if you like what you read, consider supporting the artist on Patreon so he can finish this work.

Junji Ito’s Cat Diary: Yon & Mu Vol. 1

By Junji Ito
Kodansha Comics 


Junji Ito is the author of horror manga like Uzumaki and Gyo. He has an intricate style that is perfect for depicting every detail of his terrifying subject matter. The weird thing is that his latest book, Junji Ito’s Cat Diary: Yon & Mu, is a slice-of-life memoir about learning to co-habitate with his girlfriend and her two cats, but Ito still applies his horror aesthetic for comedic effect. Since cats can be inherently creepy, this approach may actually be pretty appropriate.

Welcome to Showside

By Ian McGinty
Z2 Comics 


Ian McGinty has gained popularity working for Cartoon Network on shows like Adventure Time and Bravest Warriors, but now he has developed a comic of his own creation, published through creator-friendly Z2 Comics. Welcome to Showside is sure to appeal to that same Adventure Time audience and there is already an animated pilot based on the comic. (Featuring the voices of not only McGinty himself but Henry Rollins, too!)
Welcome to Showside is about a kid named Kit who finds out that his father is the Shadow King and wants him to follow in his footsteps and destroy the world. All Kit wants to do is ride his skateboard and hang out with friends, but now he has this to deal with. Here’s a preview.
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Space Goat Publishing
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Comics
These Evil Dead 2 Comics Will Look Groovy on Your Bookshelf
Space Goat Publishing
Space Goat Publishing

Bruce Campbell has been quoted as saying the gallons of fake blood poured into his face during filming of the 1987 cult classic horror film Evil Dead 2: Dead by Dawn led to a week of red-tinged mucus leaking out of his nostrils. Fortunately, no Campbells were harmed in the making of two new comic collections from Space Goat Productions that are now being funded on Kickstarter. The Evil Dead 2 Omnibus features over 300 pages of stories set in the Necronomicon-plagued universe featured in numerous comic book miniseries; The Art of Evil Dead 2 reveals never-before-seen production art from both the comics and ancillary projects.

The campaign is the latest from Space Goat, the Bellingham, Washington-based company that’s made a cottage (or cabin) industry from products spinning out of the Sam Raimi-directed film, which is celebrating its 30th anniversary this year. In addition to the new collections, the publisher has also issued an Evil Dead 2 coloring book; a comic where Campbell’s demon-fighting hero, Ash Williams, encounters Adolf Hitler; and a forthcoming board game where players can navigate Deadite threats while shaking their head at Ash’s questionable competency. (No matter the iteration, he seems ill-equipped to deal with the threat of his own possessed and lopped-off hand.)

According to Space Goat publisher Shon Bury, licensing the Evil Dead 2 property from rights holders StudioCanal in 2015 has been a buoy in navigating the difficult waters of comic book publishing. (Even Marvel, which rakes in billions through its film franchises, struggles to sell more than 60,000 to 70,000 copies of its most popular monthly titles.) One day into its Kickstarter launch, the Evil Dead titles had reached 50 percent of their $20,000 funding goal.

“It’s definitely our flagship on the publishing side,” Bury tells Mental Floss. “The board game is our top seller in the Evil Dead category, and the coloring book sells really well. They’re our evergreen products.”

The cover to 'The Art of Evil Dead 2' from Space Goat Publishing
Space Goat Publishing

Exploring Ash’s adventures in other media comes with a few caveats. While Space Goat is free to explore the characters and situations portrayed in Evil Dead 2, incorporating ideas from the rest of the series (including 1993’s Army of Darkness or the Starz series Ash vs. Evil Dead) is generally off-limits. And while the StudioCanal rights include a likeness of Campbell, the actor has veto power over how he’s depicted on the page. “For some reason, he doesn’t like the dimple on his chin to be drawn,” Bury says. “But he’s very insistent that the scar on his face from the movie is always there.”

Other actors featured in the film—like Richard Domeier, the future home-shopping host who portrayed “Evil Ed”—may not have granted their likeness rights, but his Deadite character design is part of the deal. “You want to inoculate the owner or licensor of the rights,” Bury says. “So we submit drawings and they might say, ‘No, too close to the actor.’”

That development process is part of what makes up The Art of Evil Dead 2, one-half of Space Goat’s current Kickstarter project that follows a successful Evil Dead 2 board game launch in 2016. The campaigns, Bury says, help target Ash fans with material that might not get enough attention if it were released directly to retailers. “Kickstarter is basically social media. It’s direct engagement, our way of saying to fans, ‘Hey, you’re really going to like this.’”

Bury expects fans to be just as enthused about Evil Dead 2: The Doppelganger Wars, a limited series due for release in 2018 that sees Ash and sidekick Annie Knowby enter the mirror dimension glimpsed at in Evil Dead 2 to discover the true origins of both the demon-summoning Necronomicon and the cult surrounding it. A meeting with H.P. Lovecraft may also be on deck, along with other narratives that would carry the license through the end of the publisher’s current agreement with StudioCanal in late 2019.

Still to be decided: whether Ash will ever encounter the werewolves of The Howling, Space Goat’s latest horror license. “Those conversations have occurred,” Bury says. “It would be a natural. But it’s also challenging because the royalties [for the licenses] double.” 

Digital versions of The Art of Evil Dead 2 and the Evil Dead Omnibus will be available to backers pledging $20 beginning in December. Softcover, hardcover, and Necronomicon slipcase editions ($30 and up) ship in May 2018. The Kickstarter runs through November 25.

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Hulton Archive (left), Bruno Vincent (right) // Getty Images
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History
How Superman Helped Foil the KKK
Hulton Archive (left), Bruno Vincent (right) // Getty Images
Hulton Archive (left), Bruno Vincent (right) // Getty Images

The Klansmen were furious.

Dozens of them had congregated in a nondescript room in Atlanta, shaking cloaked heads at the worrisome news that their sect leader had just shared: An act of gross subterfuge had transpired over the airwaves. Millions of Americans had now become privy to their policies, their rankings, their closely guarded methods of organized hatred.

All of it fodder for some comic book radio show. Their mission had been compromised, sacrificed at the altar of popular culture. Kids, one Klansman sighed. His kids were in the streets playing Superman vs. the Klan. Some of them tied red towels around their necks; others pranced around in white sheets. Their struggle for racial purity had been reduced to a recess role play.

Stetson Kennedy listened, doing his best to give off irate body language. He scowled. He nodded. He railed.

The covert activist waited patiently for the Klan to settle down. When they did, he would call radio journalists Walter Winchell and Drew Pearson, offering the results of his infiltration into the group for public consumption.

He’d also contact Robert Maxwell, producer of the Superman radio serial. Maxwell, eager to aid the humanitarian mission of the Anti-Defamation League, would promptly insert the leaked information into his show’s scripts. In between fisticuffs, his cast would mock the KKK’s infrastructure, and the group’s loathsome attitudes would be rendered impotent by the juvenilia.

The Klan roared, demanding revenge on their traitor. “Show me the rat,” their leader said, “and I’ll show you some action.”

Kennedy cheered, just as they all did.

And when he returned home, his Klan robe would be traded for a cape.

The cover to the first issue of Superman
Hulton Archive/Getty Images

Kennedy, born in 1916, was an unlikely undercover operative. After a back injury kept him out of World War II, the Jacksonville, Florida native decided he wanted to combat anti-American forces on the home front. With Klan members alleged to have assaulted his family’s black maid when he was a child, the Klan—once again gathering steam in an era of segregation and racial divisiveness—was a favored target.

Having convinced a “Klavern” in Atlanta, Georgia that he shared their bigoted views, Kennedy donned the ominous attire of a Klansman, attended cross burnings, and covertly collected information about the group that he would then share with law enforcement and media. Radio journalist Drew Pearson would read the names and minutes of their meetings on air, exposing their guarded dialogues.

Revealing their closed-door sessions was a blow—one that Kennedy didn’t necessarily have to confine to nonfiction. In 1946, Maxwell, who produced the Superman radio serial broadcast around the country, embraced Kennedy’s idea to contribute to a narrative that had Superman scolding the racial divisiveness of the Klan and airing their dirty laundry to an enraptured audience.

“The law offices, state, county, FBI, House Un-American Activities Committee, they were all sympathetic with the Klan,” Kennedy said later. “The lawmen were, ideologically at least, close with the Klansmen. The court of public opinion was all that was left.”

Ostensibly aimed at children, Superman’s daily radio dramas were often broadcast to assembled nuclear families; one phone poll showed that 35 percent of its audience was composed of adults.

But regardless of whether parents listened, the activist believed the younger demographic was worth attending to. “Even back in the ’40s, they had kids in the Klan, little girls dressed up in Klan robes at the cross burnings," Kennedy said. "I have photos of an infant in a cradle with a complete Klan robe on. It seemed like a good place to do some educating.” 

In “Clan of the Fiery Cross,” a 16-part serial airing in June and July of 1946, Superman opposes an organized group of hatemongers who target one of Jimmy Olsen’s friends. Exploring their network, Clark Kent uncovers their secret meetings and policies before his alter ego socks the “Grand Scorpion” in the jaw. The idea, Kennedy wrote in his account of his work, The Klan Unmasked, was to made a mockery of their overblown vernacular.

When traveling, for example, Klansmen might identify one another by asking if they “knew Mr. Ayak,” an acronym for “Are You a Klansman?” Although Kennedy may not have actually shared their code words on air—a longstanding myth that was debunked in Rick Bowers’s 2012 book, Superman vs. the KKK—their histrionics were perfect for dramatization in the breathless structure of a radio drama. Given shape by actors and sound effects, all the clubhouse tropes of the Klan seemed exceedingly silly.

The cover to the first issue of Superman
Hulton Archive/Getty Images

As Kennedy continued to serve up Klan secrets to Superman, he watched as Klan morale dipped and membership enrollment ebbed. Desperate, the Klan tried calling for a boycott of Kellogg’s, a new sponsor of the show, but racial intolerance was no match for the appetites of post-World War II homes. Rice Krispies and Corn Flakes remained breakfast table staples, and Superman’s battles with the close-minded continued. Emboldened by his success against the Klan, Superman took aim at Communism, a favorite target of the show’s anti-Red star, Bud Collyer.

Kennedy would go on to burden the Klan using proof of uncollected tax liens, and eventually convinced the state of Georgia to revoke their national corporate charter.

Kennedy died in 2011 at the age of 94. While some of his accounts of subterfuge in the Klan later came under fire for being embellished, his bravery in swimming with the sharks of the organization is undeniable. So, too, was his wisdom in utilizing American iconography to suffocate prejudice. Fictional or not, Superman may have done more to stifle the Klan’s postwar momentum than many real people who merely stood by and watched.

Portions of this article were excerpted from Superman vs. Hollywood: How Fiendish Producers, Devious Directors, and Warring Writers Grounded an American Icon by Jake Rossen with permission from Chicago Review Press. Copyright (c) 2008. All Rights Reserved.

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