Tag Archive: Sean Phillips

It’s one of our favorite tropes, and now it means the pairing of the most unlikely characters.  James Bond teaming up with Ernst Stavro Blofeld against a common foe?  Where do we sign up?

At your local comic shop, coming in March 2021.

James Bond: Agent of SPECTRE is Dynamite Comics’ next James Bond serialized monthly comic book story, sure to resurrect the double-agent element of some of the best Bond stories.  TV screenwriter Christos Gage (Daredevil, Hawaii Five-O) will partner with the artist known for defining the retro style of the 21st century Bond comics, Luca Casalanguida, who we’ve seen on so many 007 titles, including Hammerhead, Kill Chain, and The Body, with colors by Heather Moore.

We’ve seen several appearances of Blofeld on the big screen, and from some major dramatic actors.  So which Blofeld style do you think Casalanguida will go for?

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One hundred comic book artists have come together over the past year to create the next great joint art project, this time featuring the Dark Knight Detective and Bruce Wayne alter ego, Batman.  Previous subjects have included Adventure Time, Wonder Woman, Teenage Mutant Ninja Turtles, Hellboy, The Uncanny X-Men, and Captain America.  This year a new group of some of the best-known names in the world of comics volunteered an original work of art featuring the Caped Crusader (how many nicknames does he have anyway?) penciled, inked, painted, or otherwise colored on a DC Comics Batman #75 blank comic book cover.  It’s all for a good cause that gives back to–and in effect pays forward–comic book creators that have come before.  It’s called the The Batman 100 Project.

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Happy Mother’s Day!

More than 100 comic book artists came together over the past year to create what is one of the best joint art projects featuring superheroes that has come out of the industry.  And it’s all about the biggest superheroine of all.  Some of the best-known names in the world of comics volunteered an original work of art featuring Wonder Woman, penciled, inked, painted, or otherwise colored on a 75th Anniversary DC Comics Wonder Woman blank comic book cover.  It’s all for a good cause that gives back to, and in effect pays forward comic book creators that came before them.

It’s called the Wonder Woman 100 Project.  All proceeds of the auction of the original artwork will go to the Hero Initiative, an organization that helps out the comic book industry by contributing funds to individuals and their families in the event of medical and financial crises.  Most of the comic creators the fund helps were piecemeal workers in their careers over the past decades or those without any kind of retirement program.


And for those who can’t afford the original artwork, the Hero Initiative is creating a hardcover and softcover edition compiling all the covers that will be for sale in June 2017, with proceeds of those books also going to the Hero Initiative.

You’ll see some of the very best Wonder Woman images you’ll ever find.  Many are from well-known artists, but some of the finest works are showcased by more recent artists entering the industry.

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Uncanny Issue 1 Jock cover

Next Wednesday Dynamite Comics is releasing Issue #1 of a new crime series, called Uncanny.  Writer Andy Diggle and artist Aaron Campbell offer up a modern noir story about a flawed yet oddly powerful American named Weaver set in modern-day Singapore.  Uncanny is similar in many ways to many recent crime monthly comic book series.  It’s an edgy, action noir mixed with pulp spy novel crime story that will appeal to fans of Ed Brubaker and Sean Phillips’ Fatale, Brian Azzarello and Eduardo Risso’s 100 Bullets, and Jason Aaron and RM Guera’s Scalped.

The update of 1930s-1940s film noir to the modern city is intriguing.  Diggle’s Weaver seems capable of being a variant on James Bond–rugged, overconfident–yet instead of running after the bad guy by all accounts Weaver seems to have created his own problems leaving him to be the man on the run.  Campbell’s art deftly balances the bright lights of the city with the night-time dark tone of a man somehow caught up in the city’s underbelly.  And Campbell’s first issue of the story is heavily influenced by both the recent Bond films Casino Royale and Skyfall.  In fact, his characters, the style and setting are similar to Mike Grell’s James Bond: Permission to Die mini-series.

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Review by C.J. Bunce

Jason McClain is a big fan of Ed Brubaker’s writing.  He’s mentioned his appreciation for Brubaker’s Sleeper books here at borg.com more than once.  So when I saw the enticing noir cover art on the first issues of the new series Fatale, I figured this was a good place to start.  I picked up Issues 1 and 3-5 and it took me awhile to track down #2 so I only this week could read the first story arc straight through.  The new story arc starts with the next issue, coming out soon.

Based on the noir covers I was looking forward to what I have found in my favorite film noir–Otto Preminger’s Laura, Hitchcock’s Shadow of a Doubt, Rear Window, Dial “M” for Murder and Vertigo, Jimmy Stewart in Call Northside 777, also Sorry, Wrong Number, Elizabeth C. Bunce’s fantasy noir Liar’s Moon, and in a strange way, even the voiceover version of Blade Runner.  For the most part these are all crime noir stories.  A dangerous damsel–the Femme Fatale as in Double Indemnity–plus a Dana Andrews-looking character in a gray fedora who is usually a cop or newspaper reporter, and a dangerous city full of secrets and dark, wet streets–all of this is the stuff of noir.  But I was thinking about this all wrong.  I had no idea Ed Brubaker and artist partner Sean Phillips were creating a supernatural 1950s pulp horror/thriller, not a noir pulp crime novel.  None of my favorite film noir has anything supernatural so from only a few pages in I was thrown a bit.  Fatale is noir, but it is just as much supernatural horror.  So I read the story once and was confused a bit.  Then I figured out what genre I was reading and read it again.

If you like supernatural horror and you like the 1950s underworld as your setting, Fatale is a very interesting read–almost like revisiting a lost story type.  The supernatural bits remind me of the TV series Medium, which often contained surprisingly dark and gory crime moments juxtaposed with the lives of good, caring people.  Same goes here.  Like the movie Skeleton Key, where a man and woman use voodoo to switch bodies and live forever, and like Rosemary’s Baby and The OthersFatale’s characters are sucked into shocking and frightening situations and as readers we aren’t supposed to know all that is going on until the end.

Fatale has the requisite fascination of an otherwise boring man with an attractive, inaccessible, mysterious woman.  Nicolas Lash meets Josephine at the funeral of his godfather, Hank Raines.  Raines once knew Josephine back in the 1950s.  She’s blackmailed by a detective in the 1950s world of the story, Walt Booker, and both Josephine and Walt have this unnatural power over each other.  Is Josephine a “pusher” in the X-Files sense or does she just bring out something in others innocently?  What are these occult priestly fellows in red showing up dead everywhere and this fanged beast who kills Raines’ wife?  I’d need a few more re-reads to really catch the complexity of what happened here.  Each issue from #2 on has a lead-in paragraph at the beginning to explain what happened in the prior issue.  I found myself puzzled by these summaries, as in “oh, is that what happened last issue?”  Since I read these through in one sitting, I’d think I shouldn’t be surprised by a summary of what I just read, yet I was.  Usually if stories suffer it’s through too much “telling” and not enough “showing.”  Here I think this story has the reverse problem, but only a bit, and could stand to explain a little more plainly what the heck is going on with the mass suicide, magic dagger, old novel script and some pile of papers that need translating.  At times I felt I was totally in sync with the story–there was a 1960s James Bond aura at different points along the way that created a cool vibe.  Then with the symbology and strange beast who was also a leader that looked like Hitler, I was out of sync again.

Without question, the best part of Fatale is Sean Phillips’ 1950s style art.  If I wasn’t following a scene from the dialogue then I could usually get there with the visual storytelling.  Fatale looks like the noir I’d expect to see, for most of the scenes.  Dave Stewart’s coloring creates a world familiar to fans of Edward Hopper’s paintings.  I think the storytelling has some jarring moments, however.  Things like expletives that seem out-of-place and -time bothered me here.  It could be because, even if people used expletives in the real 1950s, 1950s movies never did, and so the aura of 1950s drama seems more accessible to me than what might have been real-life lingo (although I refuse to believe folks in 1950s swear as much as, and with the exact same colorful metaphors as, we have today as this work reflects).  So I love the look of Fatale, but am not sure of how much I like the story and whether I would recommend it to others not familiar with this genre.  The “voiceover” parts were quite good (the “it was a dark night in the city when I first met her” kind of thing).  Are Brubaker and Phillips’ other works supernatural horror like this?  I’d be willing to try more of their works to find out.

Fatale did make me think a lot about characterization, mood, and what makes something a crime novel vs a horror novel vs a supernatural thriller.  In a different kind of way, it made me think about complexity of story much as I did reading and watching the Watchmen graphic novel and film adaptation.  Anything that makes you think like that is probably a good thing.

Fatale is available at Amazon.com for pre-order in a trade edition titled Death Chases Me.

By Jason McClain (@JTorreyMcClain)

It’s like a film noir for super folk.  Just saying that, without even opening the book to one of the well-drawn pages, you can see them in your mind’s eye, pulling on a cigarette and blowing out the smoke or casually cutting into a bloody rare T-bone and thoughtfully chewing between each sentence detailing how they got to where they are.  In addition to dames and money, it adds something more mysterious, something more powerful and every bit as tragic.

I recommend Sleeper: Season 1.  Pick it up.  Read it.  It holds up seven years later and it holds up to a second read.  Probably a third one as well.  Don’t believe me?  Eh, go to hell.

You’re still with me?  Good.  You can get all of what I said in the pages of the trade paperback as you sit in your comfy chair, immune to the ills of the world since you got a roof over your head and money to spend on comic books.  It sure as hell can’t make you any softer boyo.  The story’s all there, maybe the second most famous Holden serving as a double agent and trying to figure out the madness of his underworld boss.  Pretty simple stuff.  The twist?

Every instance of pain inflicted on Holden, no matter how deadly, can be transmitted in the same magnitude to whomever he touches.

Don’t tell me that power is not one for a bad guy.  He doesn’t feel his own pain.  He makes you do it for him.  You’ll die so that he can live.

That’s about as anti-Christ as they come.

As you read, the other villains in the upper echelons of this criminal organization slowly start to reveal their powers.  I won’t spoil them for you, but let’s just say they would only work for bad guys as well.  What polite society would consider bad at least, but I guess it depends on the society you keep.  For you, enjoying your iced tea and slab of pizza as you watch another episode of Spongebob, yeah, it’s bad.

So, it got me to thinking.  Do the powers that you have automatically make you good or evil?  Nah, that’s too simple.  We know the world has a lot more shades of grey than that don’t we boyo?  Still, would it be better to have any random power as a hero or villain?  Let me take you on a quick ride to the country and we can talk about it as we drive.


If the villains can’t hurt you, a hero can use less force to bring them to justice.  Kill or be killed isn’t the equation since one side is an impossibility.  On the other side, invulnerability means that the good guys can’t hurt you so that you can take more risks.  Jump into an active volcano.  Plunge off a 100-story building.  Hide on the bottom of the sea.

So, on one side, a bunch of villains can have fun, the hero can let them feel they’re doing well while they wail on his invulnerable self and he or she just waits until they tucker themselves out and he takes them off to jail for a nice nap.  It’s like being Dad to a world of super-powered three-year-olds.

On the other side, maybe a villain robs all the rich folks camping up on the side of Mount Everest, climbs to the top and sleds to the bottom, creating the single steepest, greatest thrill ride of all time.  Our villain dusts herself off, walks down to the sea and figures she’ll use her ill-gotten gains for Cuba Libres and helicopter lessons.

Advantage: Villain.


With the omnipresence of porn on the Internet, being a villain and sneaking into locker rooms just doesn’t hold the cachet it used to.  Riding an ant into battle?  If horses are smelly, ill-tempered beasts, I can’t say that riding an ant would be much better.  Stop, miscreant, or you’ll step on me doesn’t even put the fear of Tom Hanks into a person.  I guess these heroes and villains will always have reconnaissance and espionage.  Then again, that’s Archer’s realm, so they’ll have to take a distant second.

Advantage: People without Internet that live near a gym.


You might immediately think this one would go to the villains, but you’d be wrong.  What does a villain have to think about?  Head or heart.  Head or heart.  That’s it.  A hero on the other hand, gets to aim at wooden cross beams at their weakest points, causing them to collapse on the stack of water-filled vats, spilling a tidal wave of water toward the inflated inner tubes, pushing them up into the sharp bowl of knives that cut a rope, releasing a crate of guitars that gently nudge the villain into a pit of extremely viscous pudding.  The hero becomes the star of their own OK Go video every time they fight crime.

Advantage: Hero.


The hero/villain becomes an entrepreneur/inventor.  If you wanted to be Ron Popeil all your life and created super juicers and vacuum cleaners that get the hard to reach dirt, well then, this is the super power for you.

Dolls that come to life?  Combination night vision goggles and underwater breathing apparatus?  A hot plate that can be thrown like a Frisbee?  What great Christmas gifts for only $19.99 plus shipping and handling.

Advantage: The ghost of Billy Mays.

So, that’s that, and lookee here.  I’ve driven to a nice deserted field.  Well, what’s this in my trunk but a shovel.  Didn’t you say you liked to dig?  You didn’t?  You better learn quick boyo.  Think of yourself as The Shoveler.

You shovel well.  You shovel very well, because I ain’t got all night.  While you dig, I’ll ponder to myself other superhero powers like power beams, adamantium claws and talking to the fishes in a non-concrete galoshes kind of way.  But in an hour we’ll both be done.  I need my beauty sleep.

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