The trailer for the highly anticipated Avengers: Infinity War is finally out and it did not disappoint! Marvel fans have waited for an entire decade for this showdown, so it is no surprise that some people felt emotional after watching the trailer. People even posted trailer reactions on YouTube, and a lot of them are similar to when people saw the first Avengers movie five years ago. For a dose of nostalgia, you can look back when Good Comic Books covered the Avengers teaser trailer.

Let’s recap: Avengers: Infinity War reunites the Avengers to face their most powerful enemy yet, Thanos. The Mad Titan is on a mission to collect six Infinity stones to further his plans of inflicting his will on reality. Based on the trailer, Thanos already has two of the stones, and it seems like he will successfully procure the third one from Vision.

While several fans shed tears for Avengers: Infinity War, there were also those who noticed other things. Many enthusiasts pointed out Thanos’ ridiculous new look, which Polygon mentioned as the subject of new memes. These include face swaps with Homer Simpson and Hank Hill from King of the Hill, while others showed Thanos with Photoshopped hats.

Meanwhile, other people have opened up discussions on which Avenger will be saying goodbye after the climax. Plus, MCU Exchange revealed that there has been a casting call for mourners, which spurred the rumours of an Avenger’s death even further. While fans are quite confident about the idea that Vision will not make it, popular theories also cite the end of either Iron Man or Captain America, mainly because the contracts of both actors have already reached their due.

The Avengers: Infinity War has definitely got everyone talking. In fact, Variety claims that all of social media was ablaze with conversations on the topic. In its first week alone, the trailer has generated around 500,000 new conversations on social media, surpassing the 208,000 conversations made by another highly anticipated film, Star Wars: The Last Jedi.

Of course, Marvel Studios is no stranger to creating social media buzz. Earlier this year, two funny offbeat promotional videos for Thor: Ragnarok were released on Marvel Entertainment’s official YouTube account. These Team Thor clips showed a glimpse of Thor’s whereabouts during the events of Captain America: Civil War. Apparently, he’s just bunking in with a guy named Darryl, who is not exactly fond of his presence.

Thor and the rest of the Avengers are highly responsible for the world’s current fixation on superhero movies. With the introduction of a shared cinematic universe, comic book fans always have a new movie to look forward to every year. It is uncertain when the mainstream audience will move on from the superhero craze, but it can be said with certainty that it’s not any time soon. This is because many companies have already joined the superhero bandwagon or are scrambling to incorporate their own superhero themes. For instance, Universal Studios has introduced its own shared cinematic universe starring universal monsters like the Mummy, Frankenstein, The Invisible Man, and more.

Video game creators are also adopting comic book characters and some even write their own original storylines. Batman: The Telltale Series is one example of a game that features a fresh narrative that is not tied to the comics. Meanwhile, other titles display flexibility by taking inspiration from sources tied to the famous superheroes of today’s generation. Take the case of Thunderstruck that’s hosted on games portal Slingo, which was based on the Norse God of Thunder. The design elements are reminiscent of the Marvel counterpart, even though there have been numerous representations of the deity throughout history. This creates a juxtapose effect considering that, technically speaking, the two are different characters. At any rate, the present hype surrounding comic book characters are affecting even other creations that only share a few resemblances, whether directly or otherwise.

Ultimately, it’s proof that the phenomenon is not likely to die down soon, especially with hundreds more characters not having their chance to shine yet. But through the capability of social media to put topics and/or people (including fictional ones) on the limelight, discussions like the conversations about the Avengers will become more common.

As for today though, all eyes are on the beloved all-star team of Marvel. Avengers: Infinity War is slated for release on April 27, 2018.

For comic book fans, some of the biggest news of the past year was that Ben Affleck would take up the role of Batman in the next Man Of Steel film. The news of a Superman-Batman collaboration alone was fairly explosive on its own. And following a relatively brief period of speculation on who might take up the role of the Caped Crusader, the Affleck news set the Internet ablaze for weeks.

So, what exactly has Affleck signed on for? Is it a good idea with the potential to launch a successful franchise? Is it a disaster waiting to happen and an insult to Christopher Nolan’s incredible Dark Knight trilogy? Our thoughts on these questions and more are below!

What Has Ben Affleck Agreed To?

Right now, no one is 100 percent sure what Affleck’s agreement to play Batman entails. What we know for certain is that Affleck will play the Caped Crusader—likely in a somewhat limited role—in the 2015 follow-up to Zack Snyder’s Man Of Steel film. However, the International Business Times recently speculated that Affleck’s agreement may go well beyond 2015, encompassing a fresh Batman trilogy as well as additional follow-ups and collaborations with Superman. Wow.

Is Ben Affleck The Right Man For The Job?

When Ben Affleck was announced as the next Batman—even after Argo launched him to a new career peak—most fans were immediately up in arms. But now that the dust has settled a bit, it seems as if the real outrage was in anyone playing Batman so quickly after Nolan’s franchise concluded. Affleck himself may be a pretty decent pick, though, in the end.

To begin with, he’s exactly the right physical type, and he’s also been hitting the gym even more lately to beef up. But going beyond that, Affleck has demonstrated the kind of quiet, brooding strength that defines Batman. He can also pull off the boisterous arrogance that can at times represent Bruce Wayne. For the quiet strength, check out Argo, or even The Town, both of which show Affleck in full control, but never over-the-top. For a bit of Affleck’s action chops, take a look at Smokin’ Aces. This wasn’t the most popular film, which means you may have missed it. The movie’s actually currently available at Picturebox Films, an online streaming service with a fluid selection of films, and it’s worth a watch if you want a more comic book-style look at Affleck. And for Bruce Wayne-style charisma, take a look at the (critically slammed) Runner Runner in which Affleck himself was, while nefarious, quite enjoyable. All
in all, he may not be a bad pick all things considered.

Is There Disaster Potential?

Of course there is, but it’s not Affleck’s fault. The dirty little secret in the room is that Man Of Steel was, quite simply, not a good film. Where Nolan’s Dark Knight franchise thrived on character conflicts and situational drama, Snyder’s Man Of Steel fell into mindless action for the sake of action. There’s always the chance that Affleck himself offers a fine take on Batman while films themselves simply aren’t up to snuff.

Good Comic Books | The Day of Chaos is fast approaching, what can we expect? Apart from there being some sort of chaotic day… Will it be a good place for new readers to cut their teeth on Judge Dredd?

John Wagner | I’d like to think so.  It does involve characters regular Dredd readers will be familiar with, but it’s important to make any story accessible to new readers. Not perhaps if you jump on in the middle, but if you’re there from the start. In this the format of Day of Chaos should help – a lot of shorter stories, some of which may seem at first only obliquely connected to the bigger picture – building up to an electrifying and violent conclusion (at least, that’s what my PR guy is saying). A similar structure to Tour of Duty, in fact, though the matter at hand is totally different.

GCB | What exactly constitutes a mega-series? Has there been pressure to write stories that can compete with DC & Marvel ‘events’?

John | Matt Smith (2000AD editor) never pressures me in that way. I’m sure he’s happy to be having another mega-series, if that’s the word, but he didn’t hassle me or get on my back about it, though I could, I suppose, sense an unstated preference from him. And I was pleased to go along, though it took a lot of time and no little agonising to come up with. I’ve done so many short Dredds now that I feel a bit played out on them. A multi-part story makes my task more difficult in some ways, of course. Putting all the pieces together is always testing. That’s what it is, though, a multi-part story. I don’t think I’d call it a mega-series.

Image ©Rebellion A/S www.2000adonline.com

GCB | How easy do Dredd story ideas come to you after so many years of writing the character?

John | Like I said, not that easy. Think of an idea and it’s probably been done. It’s best when they just pop into your head – and you have the presence of mind to write them down. I’ve probably forgotten more good ideas than I’ve written.

GCB | Do you ever start a story before realising you’ve done it before?

John | On at least one occasion I wrote the complete story before I realised in all essential details I’d written it before… How I laughed.

GCB | You’ve been an incredibly influential figure in the comics industry for years, what is your view on how the market is changing? What are your thoughts on DC’s big reboot thing?

John | I have no idea what Marvel are up to but from what little I’ve heard about the latest DC stunt I can’t say I’m that enthused. Maybe readers will love it, what do I know? I used to take more of an interest but these days I know nothing about comics.

Image ©Rebellion A/S www.2000adonline.com

GCB | How do you feel about the guys working on the new Dredd film? Are they up to it? How does it feel having strangers let loose on a character you created, like… Sylvester Stallone?

John | Alex, the writer, has been determined to keep Dredd true to character. The Mega-City One he portrays is one side of the multi-faceted city we know, a frightening, dystopian view of the future. Stallone I won’t criticise. The first movie wouldn’t have been made if it hadn’t been for him. Many would say that would have been for the best, but – if you exclude the script – there were a lot of good things about it. And at least it has set the stage for next year’s film.

Image ©Rebellion A/S www.2000adonline.com

I’ve never felt that possessive about Dredd. So many writers and artists have added detail to the city and the judges that it was no wrench when the movie guys got hold of it. A character like Button Man, that’s different. That’s only ever had my hand on it, mine and Arthur Ranson’s. It feels more personal. But when you sign away film rights there’s not generally a lot you can do about what comes out the other end. All you can do is hope they understand what makes the story tick and get it right.   Dreamworks, I’m glad to say, are being very particular about getting the right screenplay.

GCB | What inspires you to tell these stories?

John | Beats working.

GCB | Does Judge Dredd sleep with his armour on?

John | He usually only gets ten minutes in the sleep machine, hardly time to disrobe.

Make sure to check out 2000AD on the 29th July to catch Dredd in the first bit of the mega-series, and keep checking back at Good Comic Books for updates on the Dredd film, which I’m now incredibly excited about…

The good news is that the best issues were brilliant. They shone out as winning combinations of artists and writers that packed in as much brain as brawn. My personal Top 5 were as follows:

1. Action Comics – Fresh, fast, fun and fantastic
2. Aquaman – A whale of a time
3. Wonder Woman – Less is more, and scarier
4. Batman – Bat to basics with gusto
5. Batwoman – Stylish and swift, if sparse

There were a few guilty pleasures like Justice League and Demon Knights that were high on spectacle (and explosions) but failed to offer much else. Others like Green Lantern were perfectly acceptable chapters in ongoing stories but felt a little underwhelming this month. And some were not even worth picking up let alone being disappointed by (I’m looking at you Red Hood and the Outlaws).

So was it worth it? Well in my opinion, no. The comics that impressed me (about 20% of all the titles released) could have easily been made without resetting the entire universe. And while I’m being frank, a success rate of 1 in 5 should not be acceptable for a business move like this. For every decent series the readers enjoy they have to put up with four bad ones? Surely DC shouldn’t bother unless they can guarantee a higher level of quality all round. At any rate, as long as I avoid looking down the shelves at all the wasted potential, I might be able to pretend as if nothing has happened.

Joe Read.

© Hergé/Moulinsart 2011

We here at GCB are pretty exciting about the new Tintin film coming out later this year, which you can see the trailer for HERE. So in preparation for the film’s release, GCB managed to grab a quick chat with tintinoligist and all round Hergé buff Michael Farr about Tintin, Spielberg and the abominable snowman.

GCB | Hi Michael, Have you seen the new Tintin trailer yet?

Michael | Yes I have, I’m actually speaking about it on the BBC tomorrow. Its quite interesting isn’t it, quite exciting and as action packed as you would expect, a lot more to it than any of the snippets we have previously seen. Captain Haddock’s nose has never looked more bulbous!

GCB | Will you be seeing the film in 3D?

Michael | Yes absolutely, I actually spoke to someone on the production team today and they said it would really add something when watching the film. Hopefully the film will also spread Tintin further and introduce him to places where the books are not so widely read.

GCB | Like in America?

Michael | Yes just like in America, you and I know and love Tintin but there are those out there who do not know him so well, so hopefully this film will catch their attention.

GCB | Tintin has never been as popular in America as he is in Europe, why do you think this is?

Michael | Hergé’s work is very much rooted in realism and this is different to American comics, you can’t have people flying around or climbing up buildings like you do in America, although Hergé did say to me himself that he did go a little too far on one occasion.

GCB | Oh really, which book did Hergé see as going too far?

Michael | He felt that looking back Flight 714 went a little too far with the aliens at the end and the flying saucer, although the book is still highly enjoyable up until that point. But who knows Hergé might be prophetic about Aliens, I certainly think he will be about the abominable Snowman.

GCB | That Tintin meets in ‘Tintin in Tibet’?

Yes, I do believe we will find the Abominable Snowman one day and it will look just like it did in Tintin.

GCB | When the Tintin books were first published they contained images of exotic locations that children and young adults might not of otherwise have seen, but with more resources readily available now do you think this can change the way Tintin could be read now by a reader for the first time?

Michael | That’s a very interesting question, I first read Tintin in French when my father was stationed in Paris, this was in 1957, and I remember waiting eagerly for the next Tintin book, for all the adventure and fun. If you felt the need, you could buy the magazine it was printed in weekly at two pages a time, but I always preferred to wait and get the nicely printed book, I only purchased the magazine out of desperation.

Like you say though, children weren’t exposed to all the things they are now so it might have been more exciting back then. The marvellous thing about Tintin is that you can enjoy the books endlessly even as an adult, when I am asked to speak at schools the children I am talking to see things even I haven’t seen! In fact, it was talking to children that guided me to writing another of my books, Tintin and Co.

GCB | This was a collection of characters?

Michael | Yes my first book sold quite a few copies and I was asked if I wanted to write another, the problem was my first book was Tintin, The Complete Companion, there wasn’t much else to write about! I noticed that when I was talking in schools all the children’s questions were about the characters, so I thought why not take a closer look at them. It was inspired by young people wanting to know why Captain Haddock, why Professor Calculus.

GCB | Do you still own your old Tintin books?

Michael | I do yes, and they are very well thumbed. My father was recalled to London in 57/58 when the books first came out in England so I could also read them in English.

GCB | What do you think makes Tintin so well loved across different continents, countries and languages?

Michael | I love the universal appeal of Tintin and what strikes me is how multicultural Tintin can be. There is a misconception that Tintin is all white and middle class, but that really isn’t the case, at book signings I see many people of different backgrounds and nationalities sharing their enjoyment of Hergé’s work. Tintin is also huge in Africa; they love seeing themselves in the book just like we do when Tintin comes to England in The Black Island.

GCB | You mentioned earlier that you met Hergé, what was he like?

Michael | He was delightful and terribly modest, when I first met him he was very young for 71, you would have thought he was 20 years younger. We first had lunch when I was supposed to be interviewing him but it was a disaster, he kept turning around and interviewing me, he hated talking about himself. He didn’t really care for celebrity he was just so terribly modest, he was most interested in other people and other things; he asked me what I thought about Pink Floyd! Can you imagine, how hip can you get at 71.

GCB | So he had a wide range of interests outside writing and comics?

Michael | Certainly yes, he had a passion for the cinema. You see, he lived in Brussels during the First World War and his mother took him to the cinema, it was one of the few forms of entertainment. He was terribly interested and influenced by the early Hitchcock films; you can really see that influence in his work, like in The Black Island. It’s really very good that Stephen Spielberg is directing the new Tintin film since Hergé was also a great admirer of his work.

GCB | I never knew Hergé was a secret Spielberg fan, do you know which Spielberg films he had seen?

Michael | The first Spielberg film he saw was an early one called “Duel” and he was very struck by it, he made a note 3 months before his death saying ‘if one person can bring Tintin to the screen it’s this young American director’ he didn’t actually name Spielberg, but he meant him.

GCB | What are you reading? Do you still read many comics?

Michael | Well I do keep up with many new titles, I often see them when I go to comic conventions, like the one in Barcelona or Copenhagen, and I find that very interesting as a learning process, very exciting. My passion though is for Hergé and he really is an influence on many artists. For me he is the pinnacle, I enjoy seeing how he has influenced both late artists and contemporary artists.

GCB | Do you think there is still an interest for Tintin in new readers?

Michael | Well I went to Brussels after Hergé had only passed away a few months previously, and everyone in the studio was waiting to find out what his will said about the future of Tintin, but I’m not sure if you know that the will said no one could continue producing Tintin past his death, and people were devastated and worried that everyone would forget about Tintin in 5 years time, but look at it now 30 years later we are still talking about Tintin and more and more books are being sold in an increasing number of languages.

Thanks for talking to us today Michael, it’s been a blast.

Egmont Press (who also publish Tintin) will be releasing Michael Farr’s ace ‘Tintin, The Complete Companion’ with loads of cool new stuff in the autumn.

Scott Snyder and Scott Tuft are two old friends and co-writers. You may already know Scott Snyder from the awesome comics he writes, but Scott Tuft is a new kid on the block, I’m not saying he’s a terrible pop star, just he’s a new name to comics and such. They’re currently working on Severed, a period horror published by Image, and I was incredibly eager to find out more (and ask Scott Snyder a bunch of geek-crush questions about American Vampire).

Good Comic Books | Firstly, is it alright referring to you as ‘The Scotts’?

The Scotts | Absolutely. As long as The (actual) Scots don’t think we’re moving in on their territory. We’ve seen Braveheart – and read WANTED and KICK ASS – and know of what they’re capable.

GCB | So, Scotts… Severed is a period horror… What’s so attractive about the genre? Is there something about challenging idealised periods of history that lends itself particularly well to horror? Especially as American Vampire falls into the same category.

The Scotts | Absolutely. America’s past isn’t all Norman Rockwell paintings. America has always been a dark and violent place and the tension between the idealized past that people dote on and the gritty reality that existed makes for a fun place to explore.

Also… history can be pretty darn creepy and it’s fun to play in that sandbox. The spaces, the technology, the people… they’re both familiar and foreign in a way that is truly haunting.

But while Severed uses the antiqueness of the period, it is as much about now as 1916. Today the internet is connecting the world in new ways. All the rules and expectations are being rewritten. And this allows people to alter their identity… to become who they want to be. Some find their real selves, others use this anonymity to trick others. To prey on the weak. These two archetypes are our main characters in Severed but we thought a kid on the road in 1916 would make for a creepier comic than a kid on the computer in 2011.

GCB | How scary is Severed? Is it Buffy the Vampire Slayer scary, “turn it off before they drop the blood, because Carrie’s having such a nice time” scary or “OH, JESUS CHRIST!” scary?

The Scotts | It’s meant to be “can’t get that out of my head” scary. Or, “I wonder if my mailman is a serial killer” scary. We hope that the scares build throughout the 7 issue arc in an effective way so while it starts out creepy, it gets more and more twisted. By the end, we hope to get to that “Oh, Jesus Christ!” scary.

GCB | How did Severed come together between you two and Attila Futaki, and what’s the writing process? Is beer involved?

The Scotts | Us Scotts had the idea a while ago… we wanted to write something that would scare you deep down- in your soul. We thought about fairy tales and serial killers and how they bizarrely complemented one another. We plotted out the whole story together and as far as the actual writing goes- when we started, Snyder was neck deep in Vampire and Detective so Tuft took the first pass…. Then Snyder gave notes, revised, tweaked. We did this for every phase of the process for every issue. There were lots of discussions throughout the process but because we’ve worked together before and known each other for 20 plus years, it was easy to collaborate on this one.

With Attila, we gave him the first script and he seemed to get it right away. The first storyboards he showed us were nearly perfect with his story telling… his storyboards really capture the feeling and tone of the story and throughout the process, it only gets better. He’s really passionate about the story which is important to us and so while he pretty much follows the script to a tee, sometimes he’ll add a panel or background detail. And it’s all for the better. The notes are usually pretty minimal but Tuft and Futaki talk daily on gchat like schoolgirls… twisted and demented schoolgirls but schoolgirls all the same. “Like Oh My God, In panel 2… you should totally see more bone”

GCB | How long have you had the ideas for Severed? Has it been a long gestation period or did the baby spill out unexpectedly?

The Scotts | Feels like both now that it’s suddenly coming out but we’ve been thinking bout this story for a while. The story is pretty intricately plotted and it took a while to line all the ducks up in a row. At one time we toyed with it being a movie but found that we’d be freer to tell the story that we wanted to tell as an indie comic. But finding Attila and setting it up with image… all these things take time, which makes for a good gestation period.

GCB | How long is the story you have planned?

The Scotts | It’s a 7 series arc that is a pretty solid story on its own. But there is definitely room for spinoffs and we have been so happy with the way it’s coming out, that we’re thinking about doing another one.

GCB | What kind of research was undertaken for Severed, and did you find any particularly interesting/horrible real life horror stories? The more horrific the better I reckon.

The Scotts | Beyond researching the time period and American serial killers, we actually took a trip that nearly charted the entire course of the book. We really wanted to get a deep sense of the spaces that we were exploring. We went to some creepy places and spent several nights in motel beds that probably accommodated a serial killer or two.

GCB | Scott (Tuft), I believe this is your first foray into comics, how have you found it? Was it a maelstrom of late nights and deadlines? How does it compare to writing for other mediums? Do you have any other projects in the pipeline now that you’ve got a taste for the medium?

Scott Tuft | It is. I cant express how lucky I feel to have SEVERED be my first comic. To work with Scott and Attila on a story this rich is a dream come true. And to have it be my first… I’m sure I must have made a deal with the devil some drunken night.

It’s also been incredibly challenging. Deadlines and late nights for sure. Writing and rewriting and rewriting and rewriting and then some more rewriting. I’ve written a lot of screenplays in the past and directed films but comics are a whole new ballgame. Every day I learn something new, not only about the comic book form, but about story telling in general.

I’m constantly inspired by the subtle differences that crop up between films and comics. I feel like there’s a slew of obvious ones, like one has sound and the other has lettered words. One moves on a screen and the other is static on the page. But there are subtle differences that I never thought about… and I think addressing these differences is making me a much better writer. Writing comics is a fantastic process and now that I’ve caught the bug, I definitely want to do more. I’m currently working on a bigger ongoing Sci-Fi idea and Scott and I had an idea a while ago that would make for a really awesome comic – a Sci-Fi Thriller.

GCB | Scott (Snyder), you must be really busy, are you really busy? What with AV, AV:SOTF, Detective, the DC reboot, cooking, cleaning, going to the shops (I’m just assuming the last three).

Scott Snyder | You assumed right! We have a newborn, too. Emmett Aaron! Our second son. So yes, I’m very busy but the work is staggered and more than this, it’s work I love. I feel like the luckiest guy in the world to have this job. I promise never to complain or take it for granted.

GCB | Scott, (Snyder), how much a fan of Sergio Leone movies are you? Will wants to know (a writer on the site) he says American Vampire suggests you are…

SS | Very big fan. I have a poster of Fistful of Dollars in my office

GCB | Scott (Snyder), just one more AV question, do you have plans for any historical period you’re particularly excited about? I’d love to see an issue of AV set at Woodstock…

SS | Right now, I’m working on issues 22-25 for Rafa, which take place in 1955. It’s all death-races and diners and greasers and suburbs… It’s a decade Rafa and I have been dying to get to for a long time. And, we introduce our version Van Helsing: a badass rockabilly (psychobilly) teenager who drives a ’55 hot-rod and has a secret past involving a previous arc. He’s like a teenage Elvis vampire killer. Rafa was sending sketches today – I can’t wait for you all to meet him. He’s a real favorite.

GCB | What inspired you both to get into comics?

SS | I’ve always been a comic fan. My dad used to read them to me when I was a little kid. He’d take me on Wednesdays to Forbidden Planet in Manhattan. He’d send me comics when I was away at camp. All through high school and college. It’s his fault.

ST | Honestly… I am super new to the medium. When Scott started writing them, I started reading them. The past couple years has been all comics. I can’t remember the last time I bought a literary book. The first comic that totally hooked me was THE FILTH. While I had read other comics before that one… this is the one that I will always consider my first. Where I saw that the medium was something to take completely serious as a genuine art and a solid form of entertainment. And since then, not a day goes by without me reading at least a couple comics. But I’ll tell you what’s inspiring me to STAY in comics – it’s a way to tell visual stories and it’s totally uninhibited by anything other than your creativity, the talent of the people you are working with and the tastes of readers.

GCB | Do you have any recommendations for comics we should be reading?

ST | Ongoing – American Vampire, Detective Comics are must reads. (really – they’re great) I also like Sweet Tooth and Chew. I also pick up minis a lot – I like close ended stories.

SS | Sweet Tooth by Jeff Lemire. Morning Glories by Nick Spencer. Echoes, a gn by Josh Fialkov was something I really liked a ton. There are honestly a lot of book coming in September in DC’S new 52 that I’m really excited about too. Brian Azzarello’s Wonder Woman. Grant Morrison’s Action #1. JT Krul’s Captain Atom. Geoff John and Jim Lee’s Justice League of course. It’s a good time to be a comic reader.

Severed is released on 03/08/2011… which is nice.

Neonomicon #2

I don’t know if you feel the same, but it seems like Alan Moore gets more extreme as time passes. Though it’s anything but pleasant, Neonomicon #2 involved a scene towards the issue’s end that burned images into my brain that I don’t think I’ll ever be able to remove. It is one of the most horrific sequences I have ever encountered in any medium and is set up masterfully by Moore to really punch you in the face.

Neonomicon started quite softly in issue 1, the horror was creepy but not too grotesque, it certainly didn’t lead me to suspect anything like the events in issue 2. Two FBI agents go undercover in a H.P. Lovecraft sex cult thing, and are led into a basement dungeon that leads to a sewer. Some weird sex stuff starts, one of the agents is shot and then EVERYTHING GOES TO HELL.

The art and the writing are so matter-of-fact that it makes the horror of the following events all the more horrific. The main character has eye-sight issues, so some of the frames are in a blurry first person view. This is an incredible tool in showing us an unknown terror, and altogether it has the effect of making you want to burn the issue after reading it. Even though it nearly made me sick, the fact that I had such a reaction to it shows how well crafted it is as a horror piece.

Come back next week for more Alan Moore stuff!

Rorshach’s Death

The Alan Moore moment that really comes to my mind for me is Rorschach’s death at the end of Watchmen; so many issues that are integral to the book and the sheer complexity of Rorschach’s character are wrapped up in this one gripping scene. Moore rips apart the hero/villain stereotype as ‘a hero’ (and I use that term lightly) has to die at the hand of another hero to let a ‘would be’ villain’s plans go un-exposed, try getting your head around that after a few!

Dr Manhattan’s final action in this scene really shows his character, his lack of emotion leads him to make the most informed decision regardless of human life, consequence, or ‘what is right’ – but that phrase drowns in deep murky waters all the way through Watchmen. Even though Rorschach is a deranged and violent killer I would still dare anyone to read this scene and not feel even a little choked up, this is the skill and brilliance of Moore’s writing. Rorschach may be all the things I listed above but he still stood for what he believed in and made a memorable last stand in front of Dr Manhattan, accepting he didn’t have a chance of surviving.

Join us again tomorrow! Editor Joe Innes will tell you ALL about how utterly horrified he was by Neonomicon #2 (and why that was a good thing).

The Death of the Invisible Man

There are so many magical moments of innocence in the second volume of the League of Extraordinary Gentlemen but this one from issue five really pushes the envelope. You will be hard pressed to find a sequence of such horrific violence executed in such a sophisticated and stylish manner. To set the scene; Griffin, after betraying mankind to Martian invaders, is discovered by Mister Hyde, who is more upset over an attack on his crush Miss Wilhelmina Murray.

The prolonged and savage attack that follows is a brilliant example of a creator using what the reader can’t see to disturb them. But the real unpleasantness follows during dinner with Hyde and Captain Nemo, as a deceased Griffin’s blood finally materializes on Hyde’s person. Hyde’s blasé reaction and Nemo’s tirade upon discovering the body turn this ghastly moment into pure black comedy.

Come back tomorrow for the second part, Watchmen will be mentioned!

Good Comic Books | Could you tell us about Hildafolk first? How would you describe it? What inspired it?

Luke Pearson | Hildafolk is basically a short story about a girl on a brief adventure through the fantastical Scandinavian-esque landscape she lives in. I wanted to create a fantasy world that appealed to my adult self and the child in me, taking inspiration from some of the fantasy worlds that have most affected and inspired me, such as those found in the work of Tove Jansson, Studio Ghibli, His Dark Materials and the tales of Scandinavian Folklore.

I really wanted it to be a good read for kids, without being crammed with the kind of cloying, phony values that are shoe-horned into a lot of the awful guff that kids have to read or watch for fear of outraging parents. I wanted to create a world that’s as creepy as it is cosy, but in a way that’s never too far from safety. The stuff that adults always remember about cartoons they watched when they were kids is the stuff that scared them or that was unintentionally creepy. I think kids really like that stuff but it’s watered down and siphoned out of most of what they get. I realise my readership is mainly adult though and I wanted it to be a good read for them too, by being pretty and weird and hopefully telling a good, adventurous story. I don’t feel like I succeeded or touched on all of my aims, but the intention was always for it to be a world that evolved over a series and this was an introduction/practice run.

GCB | Everything We Miss has a darker tone to Hildafolk, what was the catalyst for writing it, could you give us a short synopsis?

Luke | I was wary of following Hildafolk with another Hildafolk or something similar in tone as I knew I wanted to create adult works as well as more family-friendly stuff. I didn’t want to build a readership of people who might not appreciate me going in a darker direction so it was an intentional move to make sure my first two comics somewhat represented the two different paths I want to move down simultaneously.

It’s hard to give a proper synopsis as it’s only partly narrative. It’s essentially a straight forward break-up story but filtered through the darkly surreal and the ridiculous to make something that I hope has a unique atmosphere to it.

GCB | The preview I’ve seen makes me think it’s a very cathartic experience, presenting moments in a relationship I’m sure many people can relate to, is it drawing from personal experience? And if so, is it hard to show that much of yourself on the page?

Luke | I imagine a lot of people will assume this but it’s not really the case. There is obviously a lot of my personality in it. Everything comes from thoughts or feelings I’ve had at some point, so in that sense it’s truthful and I’m definitely hoping people can relate to it, but it’s not actually drawing from any specific experience or point in my life. I actually imagined the characters as being a good few years older than me. Maybe it’s a pessimistic prediction of the future.

GCB | What was your process for writing and drawing it?

It was a lot looser than some stuff I’ve done. I didn’t sit down and write it from start to finish. I worked out generally what I wanted to happen on each page and fleshed them out just enough in thumbnail form to convince myself it would all work naturally. I then drew it page by page and wrote the dialogue/conceived specific details and imagery as I went. Once I actually began to do the final artwork it was a very intense process and it was done from start to finish in a relatively short period of time.

GCB | And where should people be buying it?

You can buy it online from Nobrow HERE, in various comic shops across the UK soon including Nobrow’s shop at 62 Great Eastern St in London or (if this goes online in time) at one of my signings in Brighton July 16th (sorry, my bad – ED), Leeds July 23rd or Newcastle July 30th (details HERE)

GCB | A lot of your work seems to have a focus on nostalgic memories of childhood, would you agree? Where do you think this comes from?

I feel like there came a point not too long ago, when I stopped moving forward, turned around and I’m now going to spend the rest of my life scrutinising my childhood and bringing to fruition all the half-baked ideas I had as a kid and didn’t have the ability to do then. I’m always trying to tap into the way I thought as a child, it was all raw ideas and optimism and innocence and fun (when it came to drawing anyway, I have always been miserable and no fun). I’m also kind of naturally sorrowful and constantly looking back and worrying about how I could have done things differently, so childhood is basically my mind’s first port of call.

GCB | Why do your comics smell better than all the other comics?

This is due to my publisher Nobrow. They use high quality paper stock and offset printing. All their books look and feel great. And smell.

GCB | Why did you get into comics?… How did you get into comics? And how did you become involved with Nobrow?

I really started properly drawing comics in the last year of my illustration course. I’d always like comics to an extent, but I didn’t really discover indie/art/small press comics until going to university and that sparked it off. I hadn’t really done too much when I submitted an illustration to Nobrow’s ‘People I’ve Never Met’ competition and they asked me about doing something for their 17×23 series (which became Hildafolk). I’ve just kept doing them since then.

GCB | What are you working on at the moment?

Right now I’m working on the first book in a series of bande dessinee style Hildafolk books called ‘Hilda and The Midnight Giant’ which will be out in November.

GCB | What would you have us read?

I would recommend checking out all the Nobrow folk, Nick Edwards, Louis Roskosch and Philippa Rice.

GCB | Where can the people find your work?

You can find all my work HERE. If you click on the comics button at the top you can get a fairly comprehensive run down of every comic I’ve drawn and where you can read and/or buy it.

Thanks Luke! Nice one.