Family is down with the flu and I'm finished with Portent #3 so I decided to just do a little doodling and ended up with a little something from the next miniseries (that may or may not be a graphic novel instead).

I was going to post some stuff from Portent #3 or #4 but there are spoilers on just about every page so... nah... maybe in a few weeks.

Check The Portent.com for reviews from #1 and #2.

Cheers

Peter

PS. Order #3 now! I need better numbers =).

I remember trying to explain to people in 1995 how my dad worked in Photoshop - pencilling by hand, scanning his drawings, and painting over the pencils with the airbrush tool. People at the time didn't get it. By now everyone understands the process much better, and here's an inside look at exactly how it works.

This is the cover for The Cobbler's Monster, from pencils to the finished piece. Enjoy!

On shelves July 2006


Image copyright Beckett Entertainment Partners LLC.

Creative team:

Cover & script by: Jeff AMANO
Interior art by: Craig ROUSSEAU
Inks by: Wayne FAUCHER
Colors by: Giulia BRUSCO
Letters by: Kristyn FERRETTI

Also: look for our two-page spread in the new issue of Diamond Previews! The ad shows the cover as well as the first four pages of the book.

Check out our website and forum! You can also sign up for our newsletter by sending your name and email address to katamano@mac.com.

TRIPPING WITH RICKETTS: Wherein Robert Tinnell Interviews Mark Ricketts on the Process of Writing in General and Writing NIGHT TRIPPERS Specifically...

RT: Anyone that's bothering to have read this should have some awareness of just what THE NIGHT TRIPPERS graphic novel is - I don't want to slow down at this point to tell them - or as Gen. Patton once said (or was it George C. Scott?) "I don't like to pay for the same real estate twice. So, Mark, feel free to insert a link to someplace they can learn more about the book. I know what it's about and want to spend my time digging into how you did it - and I do mean "how."

First up - did you rely solely on your cumulative memory of all the various and sundry cultural inspirations - pop and otherwise? Or did you find yourself surrounding yourself with music, visuals, movies and so on?

MR: A little of both. I have an emotional link to the sixties, like so many people my age, and I tried to convey that almost intangible passion in this project. However, I always immerse myself in the music, films, tv, magazines and literature representative of the period I'm writing about. I also sent Micah, the artist and my collaborator on NT, fashion, architectural and pop art images. And a cd with tunes like "Sunshine Superman" by Donovan, "See Emily Play" by Pink Floyd, "Tomorrow Never Knows" by the Beatles, etc. Working on this project was a groovy experience for the both of us.

RT: Do you start with an outline or do you dive in? More importantly, do you know your ending before you start?

MR: Once an idea hits me, I typically sit at the computer and pound out an outline. Sometimes I have an ending in mind and sometimes I let it present itself as I continually tweak that outline. And sometimes, later, I'll stray from the refined outline because a new ending occurs to me while I'm scripting. I'd like to think I always know where the story is taking me, but that would be a big fat lie.

RT: Give me an example of a day spent writing NT...

MR: Every day is the same. Not a lot of variation from book to book. Around 6:30 a.m., I sit at my desk with a cup of Lifeboat tea and write for about an hour in total silence. The wife is sleeping and all I can hear is the sound of the keys as I punch away. Then I spend a few hours answering correspondence, doing chores, etc. Around eleven, I crank up the tunes, turn on the television with the sound down and write while my head bobs to the beat for about an hour. Lunch and light reading follow. More chores. In the afternoon I usually do some research by trolling the internet or scouring my library. Then I write for another hour with the tunes cranked. After that, I exercise, check the mail, shower and make supper. At night I put in quality time with the wife, watch mindless television, scribble a few ideas here and there, and then crash. Kinda boring, really.

RT: You do some pretty marvelous multi-media stuff - in particular your podcasts. The one for NT is wonderful. How do you go about creating the "show??

MR: I discovered a bit of freeware called AUDACITY that makes recording and mixing multiple tracks a breeze. I love to mess with music and voices and sound effects. It's a love affair I bring with me from years of being in a band. With the NT podcast, I got my pals from the band Epicycle to put a polish on these sonic experiments. They had a great tune "You Should Know It", from their cd SWIRL, that reflected that sixties sound, so I asked if I could use it. Before we knew it, we were writing tunes together using lyrics found in Night Trippers. I also asked John Suintres of WORDBALLOON.COM to contribute a voice. He plays a sort of John Cleese meets serious British news anchor type in the recordings. And then there's my parody of the Beatles "Evolution 9". I won't give away any of my secrets on that one.

RT: Do you ever worry that the immediacy of the podcast might steal your energy, your "thunder", from your writing? Aside from financial rewards, of course, the pure joy of creation from the 'cast is, I would imagine, immediate and fills a "jones."

MR: I like to think of it as one big pop culture experience. One thing energizes and brings depth to the other. You listen to the podcast and you want to read the book, then after reading, you listen to the podcast again and get all the subtleties you missed the first time around. And yeah, creating those podcasts satiates my "jones". I like to think I'm preparing for the day when comics are downloaded from the internet complete with sound, music and other interactive hooha. I'm working on "scratch and sniff" and subliminal advertising as we speak.

RT: Did you feel any "mentors" lingering over you at any point in the writing process? I know when I'm writing comics - and this isn't all the time - but periodically I'll become acutely aware of an "approach" I may be using that calls to mind an inspiration. For example, often on the horror stuff I'll "see" Wolfman and Colan and they way they'd do something (TOMB OF DRACULA is a real touchstone for me). Now, I proceed to do my own thing - but, everywhere I go I'm dragging around tons of inspiration. I guess I'm just trying to find out if you ever find yourself channeling anyone as a - well, as a yardstick. (This is a tricky question - it's not about aping anyone and I'm afraid it's coming off as that. Is it making sense to you?)

MR: You gotta know your history before you can create anything refreshing and original. I try to experiment with ways to express myself as a comics creator, but I tend to consciously and sometimes unconsciously revert back to those ideas created by those who built the rule book. For me, it's all about those old EC comics guys. I steal from them daily.

RT: I think those of us in the creator-owned end of things could really use the benefit of an editor. At least I sure could. I think those guys, when they are good, are a blessing (even if it hurts one's ego to say so). Any thoughts on that?

Oh yeah, an editor is crucial. Too bad it's so hard to find a good one. I was lucky enough to get Dan Thorpe onboard for NIGHT TRIPPERS. He teaches literature at a local college and is expanding his awareness of the comics medium.

RT: How did you and Micah work on NT? Full script or just plot or somewhere in the middle?

MR: I typically write panel-by-panel description for each page. Some panel descriptions are very detailed with notes on costuming and architecture and anal retentive nonsense. Other times, the descriptions just describe the action and the dialogue sets the emotional drive of the scene. Here's an example:

"Panel 1: Yet another skewed perspective - The double doors to the master bedroom are open, a key sitting in the lock. In the darkened room, we see DOT angelically sleeping in a canopied bed. It's very dark in the room, lots of shadow. However, moonlight shines through the large stained-glass window.

Panel 2: Hovering over DOT, DARIEN and his VAMP PALS stand side-by-side in the dramatic light cast from the window. This image should resembles/ape the cover to "Meet the Beatles".

Panel 3: Repeat panel 2."


RT: Gimme the Rickett's List of ten major influences on your mindset when approaching the book - and that's different from "Oh, these guys are like the Beatles." I'm really trying to get at your state of mind...

MR: Here goes...

1. When I started this book, I mostly wanted to write the story of a fabricated pop idol. Not like the corporate creations of today, but the artistic visions of some Svengali. Like when Justin De Villeneuvre transformed a skinny young schoolgirl into a world-wide sensation named Twiggy. Or like Brian Epstein who packaged four scruffy, leather-jacketed, working class Liverpool lads as tailored, mop-topped teen dreamboats.

2. Antonioni's BLOW-UP. David Hemmings as a jaded, over indulged hipster photographer who floats through his life as if in a dreamworld.

3. Brit Lit. : The human frailty of the once powerful King Arthur (Morte de Arthur), the decadence of Dorian Gray (Picture of Dorian Gray), the manipulations of Steerpike (Gormanghast), etc.

4. Hammer films, in particular the Dracula series with Christopher Lee. There's something about those films, some kind of energy, that makes them romantic, edgy and fun.

5. Sixties music. From the insipid to the sublime. Oh, and sitars rule!

6. Mary Quant. She invented the mini-skirt. I am forever in her debt.

7. Keith Richards getting blood transfusions in France.

8. Fond memories of all the acid I dropped in the seventies. I tripped so hard on purple microdot one time I imagined that trees were bending over to slap the ground.

9. The discovery of Rolling Stone Brian Jones, after overdosing on heroin, drowned in his swimming pool.

10. A short film by Orson Welles on the pensioners who reside at London Royal Hospital. Wonderful old geezers, formerly soldiers, who still don their bright red uniforms and proudly wave the union jack.

RT: If I had an editor at this point he'd straighten me out, modify my questions, perhaps, and bring some sort of dramatic conclusion to the interview. For the moment, we'll just have to settle with me saying this covers the bases I wanted to cover until I think of something else to ask.

Which will no doubt be about ten minutes after we post this to the blog...


nighttrippers.com

INVOKING TINNELL: Wherein Mark Ricketts interviews Robert Tinnell on the Process of Writing in General and Writing his newest graphic novel SIGHT UNSEEN specifically...

MR: I think of you primarily as a horror writer who occasionally strays into other genres. What draws you to write the spooky, suspenseful stuff?

RT: I got warped at a very early age. One of the first iconic images to really affect me was that of Bela Lugosi. Long before I ever saw the film. I used to get those little Castle Film catalogs - you could order Super 8mm digest versions of Universal's classic horror films. I used to sit and study that thing. As the years went by stuff just kept affecting me - DARK SHADOWS, THE NIGHT STALKER, all the Hammer Films. Then the black-and-white Marvel horror mags like Dracula LIves. The obligatory Romero-obesssion. It's the cumulative result of years and years of exposing myself to all sorts of spooky stuff...

MR: Stories about ghosts, haunting and contacting long passed family and friends in the afterlife are always fascinating. What inspired you to explore this subject matter?

RT: Consciously, I'm not sure I can give you an honest answer. I think it has to do with something deep within myself. I love genealogy - I've been doing it for years. I love history. And I love the notion, I guess, of our ancestry somehow affecting our destiny... But then, that's just one aspect of it. I also find families interesting. The dynamics of families make for endless dramatic possibilities. Right across the street from us lived the All-American Family. Church-going, non-drinking, involved-in-everything family. The kind of people that made my wife and I feeling like underachievers. Anyway, last November she poisoned him and then set the house on fire to get away with it. And we were thrust in this whole murder investigation (which incidentally, no one even knew happened until almost a month later). And it's messed up. I mean, what the hell, right? I'm rambling. Where were we? Oh yeah. Family dynamics interest me.

MR: What's up with dogs seeing ghosts and recognizing illnesses? All this good PR for dogs is really making cats look bad in the press, don't you think?

RT: Bo brought that, er, puppy to the table. But on further examination, including some discussion with an honest-to-God ghost hunter we discovered there is some research going on in that area. It seems plausible at least. Beyond that, I am a dog person so I can't comment on the cat thing. By the way, my dog is a 95-pound yellow lab named Giallo (yes, in honor of Argento and Bava and that particular cinematic obsession).

MR: Give me an example of a day spent writing. And please describe the environment you work in.

RT: The early part of the day I usually deal with life issues. Business issues. Phone calls. Exercise. Spending alone time with my wife - at least when the kids are in school. I usually don't really write until mid-to-late afternoon. If I'm in a groove I might go until midnight.

In a weird way, I'm always writing. Driving around, I'm writing. Usually, once I'm typing it's almost like I'm re-writing. Because I've almost always already laid most of it out in my head...

MR: Do you start with an outline or do you dive in? More importantly, do you know your ending before you start?

RT: I start with at least a rough outline on fiction. Now I'm even doing that on the various essays I've been writing of late. It helps organize my thoughts - and rather than cramping spontaneity I find it liberating. I know what to do for something to make sense - I know what the essential elements are. I can then build on that - or even change it - because I know exactly what i have.

I never start without knowing my ending...

MR: Based on what I've seen so far, you and artist, Bo Hampton, have created a very stylized, cinematic comic. As a filmmaker, do you imagine your stories as "movies rolling in your mind" before translating them into graphic novels?

RT: Depends on the story. With SIGHT UNSEEN I was simply trying to write a good story - I knew Bo would be expanding stuff to develop tension or whatever. But I did not think of it as a film per se. Honestly, I spend more time trying to write to my artist's strengths - that seems to be an overriding focus as far as the actual vision of the book goes. Now, if I'm going for a specific effect - a specific scare - then, yeah, I think like it's a movie. The great thing about working with Bo has been the fact that he's not only a great comic artist - he's a great storyboard artist. So I was really able to rely on his knowing what to do to achieve maximum impact.

MR: Does the influence of a lifetime of watching film and television or reading books and comics subconsciously direct the structure of a script, or are you always aware of and a slave to, as a filmmaker might be, to technical details? Do you plan your stories to work in a three act format?

RT: I think those influences are inescapable. But so are other influences. Hell, the color of your bedroom as a kid might still be pushing you to do things a certain way. I'm a student of comics - I love reading interviews with my favorite artists and writers. I like going back and looking at stuff that works for me and learning from it. And I'm not talking about stuff from ten years ago. I was thumbing through an old reprint of Detective Comics - the one where Batman made his first appearance the other day. And one of the stories in there is a serialized bit of a Fu Manchu adventure. And it is wonderful. I'm racking my brains thinking out to draw on this thing from 1939!

As far as the three act thing - yeah. Can't help it. Took long enough to learn how to do it, I just can't stop now...

MR: When creating characters, do you let their personalities dictate their motivation throughout the story, or do you intentionally imagine their personalities undergoing change (ie: bad to good, lonely to loved, etc.)?

RT: Hollywood certainly is slavishly devoted to the notion that characters must change over the course of a film - the lead character at least. And now, I'm adapting FEAST OF THE SEVEN FISHES as a screenplay and finding I'm resistant to that. It's a slice of life - do they really have to endure some major change over a forty-eight hour period? Am I an idiot for even asking that?

In SIGHT UNSEEN, we absolutely wanted our characters to go through something that resulted in change or at least a growing awareness.

Three of the four leads in the story have messed up relationships with their parents or children - which dovetails nicely into a the supernatural mystery they find themselves caught up in.

MR: Who are your inspirations? Don't say your mom.

RT: A lot of my inspirations haven't changed since childhood. Others are relatively new. But if I were to make a list - real quick - of the people who inspire me (some because of their life in total, some because of their works) they would be...

Thomas Jefferson, Houdini, Teddy Roosevelt, Edward Abbey, William Faulkner, Peter Straub, Archie Goodwin, Marv Wolfman, George Romero, George Washington, Hemingway, Steinbeck, James Whale, Terence Fisher, Peter Cushing, Edward Hopper, Van Gogh, Milt Caniff, Gene Colan. I'm leaving people out.

Hey, a lot of the artists I work with not only inspire me - they educate me. Bo, Neil (Vokes), Adrian (Salmon) - they make me want to write for them. And Alex Saviuk? Jesus, Alex took me to school. That guy has forgotten more about telling a story in four panels in a strip that most of the folks you read in the newspapers will ever know.

MR: I think those of us in the creator-owned end of things could really use the benefit of an editor. At least I sure could. I think those guys, when they are good, are a blessing (even if it hurts one's ego to say so). Any thoughts on that?

RT: I feel so strongly about it that I've managed to convince someone to edit for me. His name is James Powell - met him when he interviewed us for a web site. Eventually he reviewed some of our stuff and I realized we were kindred spirits. He's editing some of the material in an upcoming project and I'm thrilled by his contribution.

MR: What did you do to get Bo Hampton back to the comics arena? Did he follow a trail of cookies leading back to your lair?

RT: I am the luckiest son-of-a-bitch in the world. I have no idea why he allowed me the very great privilege of collaborating with him on SIGHT UNSEEN - which was initially his idea, by the way. Neil introduced me to him at Wizard Philly a couple years ago and the rest is history.

MR: How did you and Bo Hampton work on SIGHT UNSEEN? Full script or just plot or somewhere in the middle?

RT: I wrote screenplay style - but with Bo there's absolutely no need to start telling him how you want things broken down. He knows. In fact, he actually surprised me on a couple of sequences - the detail and time he put into them. I kept worrying he'd run out of steam!

MR: Do you find yourself becoming emotionally involved with your characters or nostalgically enchanted by certain themes?

RT: On a couple of the films I directed I remember having dreams that seemed to blur reality a bit - I'd wake up living in the world of the film and take a minute to adjust. On the books, I do get caught up. Particularly when I'm playing music to set the mood. On SIGHT UNSEEN I'd often play tracks from by Goblin from Dario Argento pictures - and it got creepy and fun.

On Feast, of course, I was completely up the river. But then I was hanging out with long-dead family members in an idealized past, so...

MR: Do you think it's possible for comics to give you the same goose bumps and fright jumps a film can? Do you need live action, sound effects and music to accomplish this? On the other hand, do comics push an emotional button that film can't?

RT: Without bragging, I will say that we have been told we achieved that with SIGHT UNSEEN. It's tough - we really had to talk about it and think about it and Bo had to do a lot of extra work. But yeah - I think we can deliver a little frisson here and there. Competing with a film is tough - but then I think of all the horror novels I've read that have really creeped me out - and I think yeah, comics can do that.

At their best, I think comics can do things no other medium can do. I love making movies. But they'll never satisfy the storyteller in me on certain projects the way a comic can...



To see a 22 page preview of SIGHT UNSEEN, go here:

SIGHT UNSEEN Preview

To read about other graphic novels by Robert Tinnell go here:

theblackforest.net

The cover to Umbra #2, in Previews now.

You're gonna dig it, trust me :)

mike

Come see why Steven Griffin keeps piling up the Eisner nominations:

Ever read a comics script? If not, here's one for you:

The full script to issue one of FELL.

In handy crossplatform RTF format, ribbed for your pleasure.

-- Warren Ellis

Tales of the Fear Agent artist Michael Cho.

He's really, really good.

B. Clay Moore and Jason Latour will release the first four issues of their Image series [b]THE EXPATRIATE online for free[/b]. The story will be appear online in serial format via Latour's web blog: www.jasonlatour.com.

"This is a pretty clear effort to catch people up to speed on the exploits of our favorite fugitive, Jack Dexter. For the uninitiated, it's a good primer for the upcoming final chapters of this first storyline. If you've been with us all along it's a great opportunity to revisit it, with I suspect the occasional depraved rambling commentary from Jason's ego," Moore said.

For those unaware the series, billed as the world's first "Pop Noir Spy-Fi Thriller", offers much more than just a man running from the CIA.

"Well to answer what exactly is in store would ruin a lot of the journey, but you can expect elements of everything it's billed as and more", said Latour. "Basically the effort with this book is to mix in all the elements of genre's that Clay and I love in ways that are imaginative, uninhibited and intelligent."

In answer to the timing of this release after the series long delay, Latour offered:

"In art and with the ladies, a slow steady hand goes a long way. But a little foreplay never hurts."

"With that in mind, given the large gap between issues, due to too many reasons to go into, we felt that since I'm posting sketches there daily I might as well use it to promote the book a little more. It's the healthy alternative to checking your Myspace page for that 200th time. If you don't like FREE, QUALITY COMICS then I think you need your head checked, Ratzi."

Get a head start here:
THE EXPATRIATE
By B. Clay Moore and Jason Latour
ISSUE 1: Pages 1-6
Click Thumbnails to enlarge:


Read more now (including "extras") by clicking HERE!

To grab a banner right click on the image and select properties and copy the address. Paste it in your signature at all the most popular and famous comical book webbery sites and I'll randomly send secretly selected winners a hundered dollars!

You do it now, boy! Make that money*!



*Odds that I'm actually going to send anyone any money are very low.

Grieving over the death of his only son, Gepetto mixes the new science of DNA with the age-old magic of the golem to resurrect his son.

But in truth, he was never very close to Victor. And the anger that burns within the heart of the monster he birthed and created destroys everything and everyone around him.

Now, Gepetto must hunt his own son.

THE COBBLER'S MONSTER is about a man and a monster who, through unspeakable horror, find their way to become father and son for the very first time.

On shelves July 2006

The first three pages:



All images copyright Beckett Entertainment Partners LLC.

Creative team:

Written by: Jeff AMANO
Pencilled by: Craig ROUSSEAU
Inked by: Wayne FAUCHER
Colored by: Giulia BRUSCO
Lettered by: Kristyn FERRETTI

Check out our website and forum! You can also sign up for our newsletter by sending your name and email address to katamano@mac.com.

Paul Harmon.

Sea of Red #13.

I know the solicits for July just came out, but I can't wait another month to show you guys the cover to August's NOBLE CAUSES #23. Khary Randolph has jumped aboard the Noble Causes train and is contributing a series of covers for us. I think he hit this first one out of the park.

BERKELEY, CA -- 18 April, 2006 – This Summer, Image Comics takes you to the next theater in the war on terror -- a near future where every soldier is a weapon of mass destruction. ShadowHawk creator Jim Valentino brings you TASK FORCE 1!

A generation after 9/11, the world is paralyzed by terrorist sects of every persuasion, from armed religious fundamentalists to militaristic environmentalists. In this bitterly divided, terror-struck United States, General Abigail Rhodes takes on the thankless job of heading up the Department of Homeland Security. She intends to put a stop to the reign of terrorists once and for all by ordering "Operation: Damocles," a top-secret project too risky for any of her predecessors to try. Now Rhodes has created a top secret unit of super soldiers, Codename: TASK FORCE 1

Written by talented newcomer Jeffrey Stevenson with art by former ShadowHawk penciller Carlos Rodriguez, TF1 introduces a unit of soldiers who are enhanced as government weapons. Each of them is infused with deadly abilities for combating terror, but plagued by a fact that the government neglected to tell them: if the terrorists don't kill them, their new bodies will.

Valentino says, "TF1, for me, is what would happen if the Avengers met Delta Force. I wanted each soldier to be a three-dimensional character with superhuman abilities, but with the conscience and tactical know-how of a frontline combat soldier.”

Valentino calls out the team roster: "MASS leads the team. He can increase his molecular density, giving him great size, strength, and near invulnerability, but as he uses this power, the strain on his heart is becoming too much. RUSH can run at subsonic speeds, but because of her powers she's trapped in a bodysuit that holds her molecular structure together – if she takes it off, she dies. BLAST wears huge gauntlets that create concussive blasts, but they've fused themselves to his hands, making him a hostage in a world where he can't touch anyone or anything without destroying it. ALPHA wears a helmet that increases her mental powers, giving her telepathy, super intelligence, and telekinesis. Unfortunately the human brain wasn't made for that purpose, and the strain is giving her progressive migraines that will eventually stop with a brain aneurism. KLONE was transplanted into a prototype android body made of an indestructible alloy. It makes him stronger and possibly immortal, but it also makes him a living action figure who craves the sensual world but can no longer experience it."

He adds, "These are career soldiers, prepared to die if need be to protect our country. With the abilities they've gotten from Operation: Damocles, the test is whether they are willing to live so they can do their patriotic duty."

TASK FORCE 1 will be available for preordering from the April PREVIEWS and the first issue of this full-color ongoing series is set to hit stores in July 2006.

Featured here are the covers for issues 1 and 2. Visit the Shadowline or Image Central message boards for a 4-page lettered preview from #1!

Hello people. Been a while since I posted on this thing, time to get back in the groove and post more often. Here is the cover to issue 36 colored by Bill Crabtree. Later.

WyA

Here's a page from Emissary #1, due out at the end of May. Pencils by Juan Ferreyra, inks by Clayton Brown, colors by Angel Marin and letters by Ed Dukeshire!

Well, Lions, Tigers and Bears v2 #1 has been out for almost 2 weeks and we still haven't sold out at Diamond. YAY!

Wait a minute. Why am I excited that we haven't sold out yet?

Well, with volume I, we sold out of each issue rather quickly and while that was a good thing from a certain point of view, it kinda sucked from a different point of view. Selling out is nice, don't get me wrong, but the speed with which we sold out just enforced the fact that there were still lots of people out there that wanted to check out this series, who now couldn't until we released the trade.
And the trade sold out of its initial shipment the first day it was available.

So, with this series, we decided to take a bit of a gamble and do a pretty sizeable print run, well beyond the normal overprint amount and see what would happen.

Well, if we'd only overprinted by the standard amount, Lions, Tigers and Bears would once again be sold out as of last week. However, thanks to the gift of foresight, Diamond still has some copies for retailers to snatch up so that YOU can go get it. So, if you haven't picked up a copy, what are you waiting for?

If you need some more convincing, here are some reviews to pique your interest:

http://www.comixtreme.com/forums/showthread.php?t=26251

http://www.silverbulletcomicbooks.com/reviews/11449523896933.htm

http://www.brokenfrontier.com/reviews/details.php?id=715

NICK STAKAL AND MICHELLE MADSEN

STRANGE GIRL #10 - AUGUST

Bomb Queen is living up to her name as things come to a head in the final issues of the story arc.
But wait! That's not Bomb Queen!! Yup, say hello to my little friend - and how will Bomb Queen get out of this one?