Thor: Love and Thunder is almost here, featuring the return of Taika Waititi as director and voicing the large Thor pal Korg, plus the long-awaited scene of Chris Hemsworth′s Thor and his hammer Mjolnir passing him over for Natalie Portman′s Jane Foster to become the next Thor, as envisioned in the 1970s by Donald Glut and Rick Hoberg in the pages of What If…? and re-introduced only recently by writer Jason Aaron in the monthly Thor comics. Now we have the second trailer, featuring glimpses at even more fun–and Christian Bale and his black-and-white-toned villainy.
Here it is, the next trailer for Thor: Love and Thunder:
Thor: Love and Thunder is almost here, featuring the return of Taika Waititi as director and voicing the large Thor pal Korg, plus the long-awaited scene of Chris Hemsworth′s Thor and his hammer Mjolnir passing him over for Natalie Portman′s Jane Foster to become the next Thor, as envisioned in the 1970s by Donald Glut and Rick Hoberg in the pages of What If…? and re-introduced only recently by writer Jason Aaron in the monthly Thor comics. As we saw at the end of Avengers: Endgame, Valkyrie (Tessa Thompson) is the new King of Asgard. In this trailer she looks… bored with that. And Thor, sans eye patch, is trying to find himself, looking like he’s ready to drift off into the sunset. Feels like a bit of a downer. But it’s just a trailer. It does have swashbuckling Ravager pirate Thor flying a Viking Tours longboat led by goats Toothgnasher and Toothgrinder, with a cocktail bar complete with neon sign, and his blue-haired girlfriend (is that Sif?).
It doesn’t give us a look at the villain Gorr played by Christian Bale yet, but here it is, the first trailer for Thor: Love and Thunder:
Instead of what has been done at past panels at San Diego Comic-Con–having a panel for each or just a few major projects–Marvel Studios exec Kevin Feige was on-hand to get several announcements out the door and as many key cast members in and out of his single panel as possible. For the Marvel Cinematic Universe’s Phase IV, that means tying in Disney’s (pay) streaming service with the movies. The big takeaway? New logos are pretty much all there is so far to share, plus key casting and timing announcements. And although the last Phase had some changes along the way, it looks as if these ten projects will round out the entirety of Marvel over the next few years. The biggest frustration for fans of the X-Men and Fantastic Four is why nobody at Marvel has been getting a head start on these two massively popular teams of characters–money is definitely going to be left on the table for the duration of Phase IV by pushing out these projects. Why aren’t these Priority #1 with someone at Disney in light of the long lead-time the corporation had for the Fox acquisition?
The new time table is straightforward: Black Widow movie (May 1, 2020), The Falcon and the Winter Soldier TV series (Fall 2020), Eternals movie (November 6, 2020), Shang-Chi and the Legend of the Ten Rings movie (February 12, 2021), WandaVision TV series (Spring 2021), LokiTV series (Spring 2021), Doctor Strange in the Multiverse of Madnessmovie (May 7, 2021), What If…?animated series (Summer 2021), HawkeyeTV series (Fall 2021), and Thor: Love and Thundermovie (November 5, 2021). The most eagerly awaited film after this year’s Avengers: Endgame was the hinted-at Guardians of the Galaxy/Thor or Asgardians of the Galaxy team-up movie, but Marvel still has not confirmed that project, unless it’s tied into the 2021 film. Also relegated to “in development” status: Black Panther 2, Captain Marvel 2, Fantastic Four, X-Men, and the next Tom Holland Spider-Man movie (Spider-Man is Iron Man’s replacement, right?). Silence seems to confirm the death of the Marvel Netflix universe of Luke Cage,The Punisher, Daredevil, Jessica Jones, and Iron Fist, and maybe even Disney+ projects Runaways, Ghost Rider, and Helstrom. FX’s Legion was already announced as canceled, and we lost track of how many times The New Mutants movie has been pushed back. Even bigger unknowns are the next Ant-Man and The Wasp, which had Hank Pym actor Michael Douglas already discussing it as a prequel, and if anyone is thinking about Prince Namor the Submariner, nobody is talking. It begs the question: Does Disney have too much to handle now?
As a beginning Disney’s Marvel side seems to be taking a lead from its Star Wars division, with its offerings targeting a mix of fans old, new, and in-between. For the fans of the MCU so far you have plenty, a Black Widow (presumably prequel) and Thor movie as bookends for Phase IV, and TV series to keep alive Falcon, Winter Soldier, Scarlet Witch, Vision, Loki, Doctor Strange, and Hawkeye. For new audiences (and possibly much older comic book readers) there is Shang-Chi and the Eternals to get to know, along with the announcement that Luke Cage’s Mahershala Ali will be playing Blade in a reboot movie at the beginning of Phase V, the vampire hunter who, like Spider-Man, has already seen an entire series of movies outside of the MCU.
The details are an eclectic mix of things you might want, things you didn’t know you want, and things you won’t know what to make of:
Let’s take a trip back 33 years ago to a galaxy not all that far away. It was my very first issue of the only comic book I ever subscribed to. It was the end of the school year in 1986 and at last I took the plunge to send in a check to start getting a comic in the mail. My first issue? Star Wars #107, which contained a note from Marvel Comics stating that this was to be the final issue and I was going to be sent something instead going forward from a new universe of comics Marvel was starting called… New Universe. In the days before the Internet or anyone to call to say “what?” I was then sent eleven monthly issues of Star Brand. Not quite Star Wars, each issue reminded me of what I was not getting. I was a fan of the Star Wars comic book (issued as Star Wars Weekly in the UK) since receiving my first ever comic as a giveaway when my mom took me to my local library’s Star Wars Day right before Christmas 1977. The series would introduce me to a roster of creators (many I’d later meet in person) including Roy Thomas, Howard Chaykin, Steve Leialoha, Rick Hoberg, Archie Goodwin, Donald F. Glut, Carmine Infantino, Gil Kane, John Byrne, Michael Golden, Chris Claremont, Herb Trimpe, Al Williamson, Tom Palmer, David Michelinie, Klaus Janson, Ann Nocenti, Jan Duursema, Bill Sienkiewicz, and Walt Simonson. I read every issue up to Issue #107.
The big surprise? That original Star Wars series became everyone’s first encounter with the word BORG. It’s probably the first ever use of those four letters to describe a cybernetic organism, and it was spoken by none other than Luke Skywalker in reference to Valance, The Hunter way back in 1978. We would learn Valance was a borg who killed borgs, and he became an inaugural inductee here at borg in our borg Hall of Fame, and part of my opening dialogue with borg readers eight years ago here. This year, through the miracle of an idea worthy of a light bulb floating over your head, Marvel Comics introduced for its ongoing 80th anniversary celebration something I’ve never seen done before: a single, new, numbered issue continuing a series canceled as far back as 33 years ago. The issue is Star Wars, Issue #108–it’s fantastic and available at local comic shops everywhere now.
Providing a chapter by chapter sequel not to Issue #107 of the vintage series, but to the Issue #50 story “Crimson Forever,” Matthew Rosenberg is the writer on the new Issue #108 titled “Forever Crimson,” and along with Valance we again meet some of our favorite characters of the entire Star Wars universe who we haven’t seen in decades: the villainous Domina Tagge (remember Baron Tagge?), the stylin’ Amaiza Foxtrain, the memorable telepathic hoojib and the red Zeltrons, and best of all, Jaxxon the bounty hunter rabbit, who we last saw on a special variant edition copy of Marvel’s reboot Star Wars, Issue #1. Plus all the stars of the series we all know and love. As for the artists, Jan Duursema returns to the series for this one-shot issue, along with Giuseppe Camuncoli, Cam Smith, Andrea Broccardo, Kerry Gammill, Ze Carlos, Stefano Landini, Luke Ross, and Leonard Kirk, with colors by Chris Sotomayor, and lettering by Clayton Cowles. The result is everything you could want in a Star Wars comic. It’s the kind of purely fun story that would make a great monthly even today. If only they continued this story in an ongoing series!
First of all it’s not really Bruce Lee. The character’s name is John Lee, and he’s an agent after the same target but backed by a different government–the South Korean intelligence agency–and with different objectives than our title character, Mr. Bond. Ian Fleming’sJames Bond 007 is smartly written by Greg Pak and drawn by Marc Laming, Stephen Mooney, and Eric Gapstur in a way that makes it easy for readers to imagine what could have been one great movie. More as if Bruce Lee was portraying his Dragon than Kato, this Mr. Lee and Mr. Bond are well-matched adversaries.
Until they aren’t.
Taking some of the best bits from the spy trope, what will happen when MI6 teams up with South Korean spies against a common foe? It’s Man from U.N.C.L.E meets Bond, as villains from MI6’s past start popping up, including Oddjob and Goldfinger. A suitcase will explode if removed from, or taken too far away from, its handler. One town of innocent people has already seen the potential of this new technology.
This series has everything. Great tech gizmos, exotic women counter-spies, and locations across the globe. Mooney’s artwork is fantastic, reminiscent of Mike Grell and Rick Hoberg’s pencil work during the spy years of the DC Comics Green Arrow comic book series (including a great new character similar to their Shado). And Bond’s dialogue reveals Pak knows the character well.
Take a look at this preview, courtesy of Dynamite Comics:
If there was a Sergeant York or Audie Murphy on the Russian side of the fight in World War II and the soldier was a woman, you’d have the lead character in Sara, a new six-part graphic novel from TKO Studios, a new publisher for 2019 (more on that below). In Nazi-occupied Russia, the Russian forces are losing. A small band of skilled Russians snipers is making headway one kill at a time. The undisputed best of the bunch is Sara, an ex-college recruit reputed to have 300 kills. She soon becomes the target of Nazi Germany’s own best special military forces. From Eisner Award winning writer Garth Ennis(Preacher, War Stories and Battlefields, Fury) and artist Steve Epting(Velvet, Batwoman, The Winter Soldier, The Avengers), with color by Eisner and Harvey nominated artist Elizabeth Breitweiser and letters by Rob Steen, the gritty realism, badass protagonist, and top-level artistry is sure to make Sara a contender come award season.
If you’re a fan of Russia or Soviet-era stories like Doctor Zhivago, From Russia with Love, and The Hunt for Red October, or graphic novels Nevsky: A Hero of the People, Red Son, and The Death of Stalin, there’s something in the Saragraphic novel that you’re going to like. But that’s just the setting. The real fun will be the callbacks readers will experience along the way. With a Russian twist, expect the same kind of war experience from watching movie classics like Stalag 17, Sands of Iwo Jima, Memphis Belle, To Hell and Back, and Sergeant York. Ennis’s historicity and Epting’s adherence to detail anchors the story in a way that will have you feeling like you’re right there in the forest among the soldiers. This is the story many of us were hoping for when we heard of the Russian espionage movie Red Sparrow.
As with all new TKO Studios releases, the story is available as a graphic novel in a digital or print edition, or as six issues in a collectible box. The six issue/chapter shifts are well plotted: an introduction of key characters in the middle of activity and flashbacks to Sara’s military training are all nicely paced to a vintage 1940s war movie style, and the battlefield threat increases gradually culminating in a nicely planned cliffhanger, followed by a satisfying payoff–it has all the beats in the right places.
Comparable in every way to the team-up with Green Lantern and Black Canary in the famed Dennis O’Neill and Neal Adams run on Green Lantern in the early 1970s beginning with Issue #76, Mike Grell would take over the artwork on the O’Neill/Adams run sporadically for the next ten issues and create more than 80 issues about the bow-wielding superhero for the next two decades. A four-issue series featuring Green Arrow would prove relatively unnoticed in 1983 (without Grell onboard), but in 1987 everything in comic books would change as Grell returned to Green Arrow with his three-issue series The Longbow Hunters. Hot on the heels of the previous year’s groundbreaking, prestige format series The Dark Knight Returns, The Longbow Hunters was the perfect dark and gritty follow-up story only this time it presented the superhero lead inside the ongoing narrative of the DC series at the time. It was Oliver Queen and Dinah Lance, relocating from Star City to Seattle, and the DC Universe became more grounded in reality. The success of The Longbow Hunters gave Grell the opportunity to take Oliver Queen (referred to in-story as Green Arrow only once in his stories) to the next level in the late 1980s, cementing the superhero as a title character in his own right. DC Comics has reprinted The Longbow Hunters, and in recent years it has been peppering the market with reprints of Grell’s fantastic storytelling and sometimes artwork for 80 issues from 1988 to 1993. DC Comics has now released the last of Grell’s incredible run on the Green Arrow monthly in its ninth collection from the series, Green Arrow: Old Tricks.
Green Arrow: Old Tricks is an even greater DC release because it also bundles in Grell’s last work of the era on Green Arrow in the 1993 four-part mini-series Green Arrow: The Wonder Year. Unlike the past few years of the monthly series, which was illustrated primarily by Rick Hoberg and inker John Nyberg, Grell both wrote and illustrated the official Post-Crisis on Infinite Earths origin story in this mini-series along with inker Gray Morrow. Along with the origin story that would stand until writer Andy Diggle and artist Jock’s mini-series Green Arrow: Year One in 2007, we see a flashback of Oliver Queen in the heyday of his 1970s “man of the people” political activism. As for the story at the end of Grell’s run on the monthly comic and the mini-series, Grell went out with a bang. The stories both hone in on the women in Queen’s life, primarily Dinah, but also Shado and a fling with a local woman half his age, all while Queen is out battling bad guys inside and outside of the city. Grell’s story is great and the artwork by Hoberg and Grell equally vivid and compelling.
In the section of Green Arrow: Old Tricks reprinting the monthly ongoing series are four stories: the two-part “Trigger,” the single-issue “Auld Acquaintance,” the three-part “Killing Camp,” and the two-part “New Dogs Old Tricks.” The most memorable to readers of the series will be the New Year’s Eve story “Auld Acquaintance.” After 80+ issues of Oliver Queen messing up his romance with Dinah Lance, she finally says “goodbye” for good in the series pretty 75th anniversary issue. Oliver then gets away from it all thanks to a story that calls back to Grell’s own real-life intelligence work, as Queen teams up with Eddie Fyres in a good ol’ James Bond-inspired adventure.
Shado–one of the best supporting DC Comics characters in the 75-year history of Green Arrow–is again front-and-center in this week’s re-release of the classic 1990s storyline, in trade paperback for the first time. Green Arrow: The Hunt for the Red Dragon, reprints Green Arrow Issues #63-72, featuring long-time story writer Mike Grell with artwork by Rick Hoberg and inks by John Nyberg.
When a man appears with a gift for Oliver Queen, he leaves Dinah back in Seattle and takes off for Japan in search of a woman with a red dragon tattoo, his ex-lover and foe, Shado. The gift? The very same film prop bow used by Errol Flynn in the 1938 film classic, The Adventures of Robin Hood, a film with special meaning for Queen. But what is behind the gift, and why this mission to give Shado a large sum of money? After Queen finds Shado they both discover a darker plot, and a villain ripped from the pages of the national crime news in the early 1990s.
Shado was created by Mike Grell and first appeared in Grell’s landmark series Green Arrow: The Longbow Hunters. A modified version of the character appeared in CW’s Arrow.
IDW’s latest Artifact Edition has so much going for it it’s difficult to know where to begin. For a lifelong fan of Marvel Comics’ original comic book adaptation of the original Star Wars as well as the continuing comic book adventures that followed, for someone whose first comic book was Star Wars Issue #8, and for someone who has discussed the series at length at multiple comic conventions with artist Howard Chaykin, the new Star Wars Artifact Edition is the next best thing to owning the original artwork. Call it a treasure trove.
The Star Wars Artifact Edition is a deluxe, over-sized boxed hardcover that collects actual 12 inch X 17 inch original comic book artwork scanned in full color to faithfully create the feel of holding the original artwork in your hands. This is the original Howard Chaykin pencil work inked by others that was then lettered and sent off for printing and the addition of color. So it contains margin notes, tape residue, eraser marks, rub-on cross-hatch shading, some pencil-colored pages, and publisher identification information. If you collect original comic book art, this will all be familiar to you and if you don’t, you’re about to enter a different world of what comic books are about.
As far as content, you could hardly cherry pick a better selection of pages to represent Chaykin’s Star Wars work, which is amazing considering missing pages were likely not included because they could not be located. Chaykin has said that he sold many of his original pages at a relatively low price in the years before auction prices skyrocketed for original comic book artwork. So unfortunately Chaykin didn’t get to realize the full return his work would one day be valued at in the private market. In addition to covers and pages from Issues 1-10, Issue 16 featuring borg.com Hall of Famer “The Hunter” is included, as well as the Michael Golden special Issue 38–for years considered one of the prized issues of Marvel Comics’ initial Star Wars run.
With three new Star Wars comic book series beginning this year as the license returns to Marvel Comics, we’re taking a look at the second book in Abrams Books’ series of hardcover art house books on the franchise, Star Wars Art: Comics. From the series that also brought us Star Wars Art: Posters, Star Wars Art: Concept, Star Wars Art: Illustration, and Star Wars Storyboards, Star Wars Art: Comics hones in on sequential art found in the comic book medium.
Star Wars and comic books have been in lock-step since Star Wars first hit theaters, thanks to George Lucas and an early meeting with writer Roy Thomas and artist Howard Chaykin. The transcript of that meeting is included as an appendix to the book. Beginning with the first comic book adaptation from Marvel and running through the Dark Horse years, Abrams has compiled a solid overview of thirty years of interpretations of the myth and magic of the Force.
Plates from cover and interior artwork were hand-picked for the book by George Lucas. Star Wars Art: Comics is worth its price alone simply for the clear photos of Howard Chaykin and Tom Palmer’s original cover art for Marvel’s Star Wars Issue #1 and Dave Cockrum and Rick Hoberg’s original artwork to the oversized edition, both also featured on the book’s binding under the jacket. Al Williamson’s stunningly rendered imagery from his adaptation of The Empire Strikes Back pepper the volume as well.
