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I’m not the very first person to note exactly how the Web has coarsened our culture, however I’m irritated best now as well as so I’m going to jump on that bandwagon.  A few days ago, I published a Fleetwood Mac A to Z post, which I spent a number of hours writing.  Some blog titled “The crap Show” reproduced not just the text content, however all the links that I spent so much time submitting as well.  I discovered of it, as well as composed the complying with comment on his post:

Although I appreciate you putting my publish up, I would appreciate it much more if you did not take my links. I put a great deal of work into what I do, as well as when somebody just takes it as well as puts it up, I get upset. Obviously, I can’t stop you, however it is the polite blog writer thing not to leech links. say thanks to you.

In response, he wrote:

ok, so here’s the deal. i published this entry to my blog @ theshitshow.wordpress.com through

you wrote…

re: “I put a great deal of work into what I do, as well as when somebody just takes it as well as puts it up, I get upset. “…..i provided your blog credit rating – it’s not like i tried to insurance claim authorship of your testosterone-deficient post.

wait…let me just ask, are you retarded? this is what the Web is for. digital is for sharing, dummy.

re: “Obviously, I can’t stop you, however it is the polite blog writer thing not to leech links. “….UMMMM, did I mention almost every link you published in this entry are through ARCHIVE.org as well as NOT YOUR BLOG.

which brings me to the next step… your blog is in my RSS feeds.

i publish to my blog what i like.

if you don’t want me publishing material from your blog, i’ll just delete you from my feeds.

re: “Although I appreciate you putting my publish up, I would appreciate it much more if you did not take my links.”

well, if you don’t want your links shared then go personal as well as stop whining like a bit bitch.

<3, The crap Show You can checked out my reaction at the original post, however basically, what the fuck?  Why would somebody feel the requirement to be so goddamn rude? Before you answer, inspect out the new song, “Ship,” off of throw Me The Statue’s new EP, offered on iTunes. Ship Yeah, that’s the ticket.  I’m cheering up already.

BOOM! Studios has revealed a flexural first look at FAITHLESS #4.
The press release follows:

Media release — BOOM! Studios today revealed a first look at FAITHLESS #4, from new York Times bestselling writer Brian Azzarello (Batman: Damned) and artist Maria Llovet (Loud), the most recent chapter in an unforgettable story about a young woman whose exploration of magic and sex takes her into forbidden territory. In short—Faith is bored as hell. and hell has noticed.

Everyone is still reeling from Aya’s tragic and violent death but Faith’s mourning takes a complicated turn as she gets even more entangled in the world of the enigmatic celebrity artist, Louis. With all eyes on Louis’ newest muse and obsession, faith is thrown into the spotlight but is she ready for all the attention and critique? and is her new lover really someone that she can count on with her heart and soul or is she headed for disaster?

FAITHLESS #4 features a main cover by artist Paul Pope (Heavy Liquid) and a variant cover by Cliff Chiang (Paper Girls), as well as an erotic variant cover by artist Jenny Frison (Wonder Woman) that will be polybagged and not publicly previewed due to sexually explicit material. subsequent issues of FAITHLESS will continue this variant cover program with similar content and packaging.

FAITHLESS is the newest release from BOOM! Studios’ eponymous imprint, home to critically acclaimed original series, including once & Future by Kieron Gillen and Dan Mora; Abbott from Saladin Ahmed and Sami Kivelä; bury The Lede from Gaby Dunn and Claire Roe; turf Kings from Matt Kindt and Tyler Jenkins; and Klaus from grant Morrison and Dan Mora. The imprint also publishes popular licensed properties including Joss Whedon’s Firefly from Greg Pak and Dan McDaid; Angel from Bryan Edward hill and Gleb Melnikov; Buffy The Vampire Slayer from Jordie Bellaire and David Lopez; and Mighty Morphin Power Rangers from Ryan Parrott and Danielle Di Nicuolo.

Print copies of FAITHLESS #4 will be available to buy on July 17, 2019 at local comic book shops (use comicshoplocator.com to find the nearest one) or at the BOOM! Studios webstore. digital copies can be purchased from content providers, including comiXology, iBooks, Google Play, and the BOOM! Studios app. FAITHLESS is intended for mature readers over the age of 18. reader and seller discretion is advised.

For continuing news on FAITHLESS and much more from BOOM! Studios, stay tuned to www.boom-studios.com and follow @boomstudios on Twitter.

“Brian Azzarello has always had exquisite taste in collaborators, and Maria Llovet is no exception. The two of them work perfectly together on FAITHLESS, the rare erotic comic that’s actually hot.”—Brian K. Vaughan

“One of publisher BOOM! Studios’ riskiest, many incendiary titles to date.”—Paste Magazine

“Faithless is an experience readers won’t soon forget.”—Newsarama

About BOOM! Studios
BOOM! Studios was founded by Ross Richie in 2005 with the singular focus of creating world-class comic book and graphic novel storytelling for all audiences. through the development of four distinct imprints—BOOM! Studios, BOOM! Box, KaBOOM!, and Archaia—BOOM! has produced award-winning original work, including Lumberjanes, The Woods, huge Days, Klaus, and mouse Guard, while also breaking new ground with recognized licenses such as Buffy The Vampire Slayer, Firefly, WWE, Mighty Morphin Power Rangers, cartoon Network, and The Jim Henson company properties. BOOM! will also bring their original series to life through distinct first-look relationships with 20th Century Fox for film and with 20th television for the small screen. Please visit www.boom-studios.com for much more information.

Web: www.boom-studios.com
Twitter: @boomstudios
Facebook: @BOOMStudiosComics
Instagram: @boom_studios
Tumblr: boomstudios.tumblr.com

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Vampirella by Joe Jusko

October 8, 2014, Mt. Laurel, NJ: Dynamite home entertainment is happy to reveal the January 2015 release of Vampirella #100, a giant-sized spectacular that celebrates the very first hundred problems of Dynamite’s Vampirella series since the series introduced in 2010. To celebrate the occasion, Dynamite is welcoming Eric Trautmann, Brandon Jerwa, as well as mark Rahner – three writers who have steered Vampirella in recent years – to contribute short stories, together with present continuous series writer (and central storyteller of the present Vampirella: Feary Tales miniseries) Nancy A. Collins. The publisher is likewise inviting horror scribe Tim Seeley to cut his teeth for the very first time with the comic industry’s many withstanding horror icon.

Vampirella is a raven-haired heroine who remains, even after 45 years of publication, one of the comic industry’s leading ladies, due in no little part to Dynamite Entertainment’s stewardship of the character. because Vampirella‘s extremely healthy revival in 2010, Dynamite has published two volumes of a monthly series, a number of miniseries as well as one-shot specials, as well as crossovers with multimedia brands as well as comic book peers. The Vampirella franchise is a haven for writers as well as artists with a penchant for the macabre.

Vampirella #100 cover by Joyce Chin

Eric Trautmann, who introduced Dynamite’s very first foray into Vampirella comics with a twenty-issue run, says, “It’s been a authentic enjoyment to return to Vampirella, but, of course, it’s likewise a bit daunting. To me, Vampirella endures since she combines so numerous aspects of horror, humor, pathos, tragedy, as well as apparent sex appeal, as well as that’s always rather a great deal to online as much as (not to mention contributing a story together with the work of some seriously outstanding talent). That sense of history ended up being the starting point for my contribution to Vampirella #100 – trying to catch a ageless high quality to the character, as well as wrapping it in a warm blanket of folklore.”

Brandon Jerwa, who authored eighteen problems of Vampirella‘s very first volume (plus a number of well-received spin-off projects), says, “I wouldn’t have guessed that I’d ever compose Vampirella; I always liked the character, however it just didn’t seem like the type of gig that would come my way. Now, I desire I might keep composing her for at least one more ten years. It really thrills me to understand that I, as well as two of my finest good friends as well as fellow writers (Eric Trautmann as well as mark Rahner), have made a considerable contribution to Vampirella’s world over the last few years. Eric brought her back as a confident, Armani-wearing, Vatican-employed monster hunter – as well as let’s not fail to remember his incredible Li’l Vampi interpretation – while mark favors the horrific nod-and-wink pop culture crossovers that he has provided on several occasions. For my part, I tried to radiate some light on the sci-fi superheroine elements of the character, in addition to her strange supporting cast. I hope Vampirella #100 isn’t my last dance with the dark woman that I like so much, since I feel like we have so numerous much more adventures ahead of us.”

Vampirella #100 cover by Cedric Poulat

Reflecting on his distinct slant on the series, mark Rahner says, “I like that there can be as numerous different interpretations of Vampi as there are writers. Mine has been to make her a no-nonsense, cranky, deadly vampire in satires of other pop-culture vampires as well as killers – Twilight, Buffy, true Blood, Dexter – a choice of stories collected in Vampirella Bites. She notes what’s inherently silly about each as well as tears ‘em apart… like a mad spoof that turns incredibly fierce as well as unsettling. Without spoiling as well much of what I’ve got in store for Vampirella #100, I’ll decrease a hint: bloodsucker satisfies seersucker.”

Currently the designer of the reimagined Chaos! Comics world (also published by Dynamite), Tim Seeley joins the roster of Vampirella creators with the #100 spectacular. “I couldn’t turn down doing a Vampirella story,” he says. “She’s horror comics royalty! My story focuses on as well as homages Vampirella’s earliest origins with great deals of love!”

Vampirella #100 cover by Tony Fleecs

“I am delighted as well as honored to be able to take part in this landmark event,” states Nancy A. Collins, whose continuous Vampirella series has been well got by critics. explained by Geeked Out nation as “a ideal fit” for the title, Collins brings “the best amount of guts while still (making Vampirella) vulnerable.” Dynamite so delighted in her handle the character that they asked her to spearhead the Vampirella: Feary Tales miniseries. Her rounding out the Vampirella #100 event is a no-brainer.

In addition to the five writers on the series, Dynamite welcomes artists Francesco Mann, Dave Acosta, Eman Casallos, Jim Terry, as well as Javier Miranda-Garcia to offer the spooky environment as well as frenetic energy the series is understood for. Dynamite will likewise celebrate Vampirella #100 with a range of cover options, including a primary cover by Joe Jusko, a Variant cover by Joyce Chin, a “Bombshell” Variant cover by Cedric Poulat, as well as a “Cute” membership cover by Tony Fleecs reserved for those hardcore fans who location preorders with their regional comic retailers.

For art as well as much more information, please visit:

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New teen Titans #13

by KC Carlson

(Author’s note: This article is a behind-the-scenes historical piece about the early – and ancient – days of direct Comic distribution – so it’s pretty much one for all the process junkies out there – and I know you’re out there! For the rest of you who just read these columns for the (alleged) jokes, you are hereby advised to skip to the end, where I put the funny stories about poison, cockroaches, soda cans, and my mentor in my life of crime that never actually happened.)

I started working at capital City distribution (CCD) in January of 1982, less than two years after the company first started. CCD eventually grew to become one of the largest direct Market Comic book Distributors in the world, and it was probably one of the most exciting and interesting places to work during those early days when the workings of the comic book industry were changing virtually week by week. (Unfortunately, in the mid-90s, the big comic publishers chose to go exclusive with Diamond, leading to CCD’s eventual purchase by that former competitor in 1996.) I had previously met both co-founders Milton Griepp and John Davis when my friend and employer Herman Shiltz and I traveled to Madison, Wisconsin, on occasion to help them unload and sort large collections (truckfulls) of comics that they had purchased.

Herman was working in a record store/head shop called Truckers Union when I first met him in either 1975 or 1976. I was a college student at the university of Wisconsin-Eau Claire, desperately trying to find a place to buy comics that wasn’t miles from the campus. Truckers Union carried underground comics but nothing mainstream, so I asked Herman why not. He replied that he didn’t know that mainstream comics even existed any longer, as he had not seen any in years. So I told him that I was a comics collector and that comics were still indeed being published, but that they were getting harder and harder to find. When I returned to the store the following week, Herman told me about encountering a collection of vintage Silver Age Superman comics while visiting his parents that weekend, which he had read and really enjoyed. He then told me that he wanted to try carrying mainstream comics in the store and asked if I could teach him more about what was available and what was good. So I ended up helping out and hanging out at the store on a regular basis.

I’m a little fuzzy about this next part, but I believe that Truckers was already getting an assortment of alternative lifestyle magazines through either WIND (Wisconsin Independent news Distributors) or big Rapids Distribution, where John and Milton were working at the time. Eventually, they set up a comics account for Truckers as well. When John and Milton formed capital City distribution in 1980, I think that Truckers Union was one of CCD’s first accounts.

A big Decision

At one of those unloading/sorting sessions in Madison, Milton informed us that he was looking for people to help CCD do an inventory of their back issue stock. I was available to help, so I traveled to Madison for several days to count comic books while crashing on a friend’s sofa at night. After inventory was completed, Milton then asked me if I was interested in a part-time job at CCD. I told him that I would love to join. However, I still lived in Eau Claire, and for me to make the move to Madison, I would have to have more than a part-time job. He replied that he was sorry, but that was all that was available at the time.

Frustrated that I couldn’t take the job, I was discussing this situation with long-time capital City Comics owner Bruce Ayres, whom I had been buying comics from since the mid-70s (when I wasn’t in Eau Claire for college). He told me that his then-wife Sherill was starting a new fairly new mail order comic service called Westfield and suggested that maybe she also needed some part-time help. between the two jobs, I could afford to move permanently to Madison. Bruce was right, and Sherill offered me part-time work at Westfield. Frankly, I was much more interested in working at Westfield as I really liked the people I met there (especially Sherill).

I called Milton back and told him about the Westfield job offer, which would allow me to take the CCD job after all. Miraculously, he said that CCD could now hire me full-time while also making it clear that he didn’t want me to work for both companies – perhaps feeing that it would be a potential conflict, as Westfield was a major account of CCD. checking back with Sherill, I discovered that she regretfully could not afford at that time to take on another full-time employee, but she made me promise to contact her again if things didn’t work out with CCD. So, somewhat frustrated about how everything had worked out, but determined to make the best of it, I accepted CCD’s job offer.At CCD, I started out pulling back issue reorders for their accounts, but as they slowly began to realize the depths of my knowledge about the comics industry (and my previous stint in distribution as a high schooler), they moved me into working the main part of their business – weekly distribution. Back then, new Comics Day was on Friday, but the physical distribution process actually began every week on Wednesday, when CCD’s truck would leave Madison, Wisconsin, to pick up the new comics in Sparta, Illinois, where – at that point in time – most comics were printed at world color Press. The truck would generally arrive back in Madison sometime on Thursday afternoon, when the actual distribution process would begin. first up was the physical unloading of the truck.

The Yellow zone is for the loading and Unloading of Comic Books

Since the early CCD warehouse did not have a loading dock, the truck’s hundreds of boxes would have to be unloaded by hand. prior to the actual unloading, someone would compile a tie-line, a complete listing of all of that week’s products that were to be distributed. From this tie-line, the floor of the warehouse would be pre-marked with the titles of the comics. marvel and DC Comics were always on the front line of the warehouse floor. (They were the titles with the most copies to be distributed and take up most of the physical space available.) smaller titles would be lined up – in order – behind the front line.

At first, the boxes of comics had to be carried (or if we had enough people at the time, “chain-ganged” down a line of people) to the point where they would be placed. Later, the bosses purchased some portable roller platforms, which allowed us to roll the boxes the length of the warehouse to where they would be placed in the tie-line by hand. The rollers were much loved as they saved a lot of wear and tear on backs and shoulders over the long haul.

Once the truck was unloaded and everything was in place, everything had to be counted and the boxes quickly inspected for damage. There was always some, as comics – especially in those days – were notoriously fragile, and many of our accounts were understandably sticklers on condition, because many of their customers were.

After inventory and inspection, we then carefully broke open the comics boxes and set up the tie-line on our long tables. These work tables were specially made from scratch, as they needed to be strong, long, huge, and relatively seamless once they were all lined up. They ran practically the full length of the warehouse. To start the inventory, we generally put about 300-400 copies of each issue of the comics on the tables – in order. This may sound like a lot, but most of the time the piles didn’t last long, and they would have to be restocked frequently. Here’s where the importance of the tie-line came in – when you ran out of a title, generally all you had to do was turn around, since more boxes of the same title were pretty much directly behind you, saving a tremendous amount of time in not having to physically find the box.

Zing Went the Strings of My Heart

Back then, the comics from world color would come string-bound in bundles of 50. This was both good and bad. It was great for us as it made it much simpler to count, say 65 copies, for an account – grab a bundle of 50, and grab another 15 copies from another bundle, meaning we only had to count 15 copies instead of 65. (NOTE: It was always very important to remember to cut the string on any “broken” bundle, so it wouldn’t be mistaken for a full 50.) The string ties were also bad, as they were generally tied by machine at the presses and were frequently tied too tight – almost always damaging the top and bottom copies of each bundle. Occasionally, the bundles were tied much too tight, damaging several copies of each bundle, as well as possibly warping the entire bundle.

String-tie damage was hotly contested by retailers, distributors, and printers alike during the early years of the direct Market. When upscale formats and better paper were introduced to comics in the mid-80’s (generally printed at places other than world Color), string-tie damage ceased to be a factor from those printers, as few of them used string ties. but it got to be such an issue with world color that I believe that string-tie damage was compensated by the printer. It caused us lots of headaches in the warehouse. I tried to keep an eye out for badly damaged books, swapping them out for better copies from open bundles whenever possible, but larger accounts (who were ordering hundreds of copies of some titles), generally got sealed cases of 300 comics – all still string-tied, because with the volume of books moving through the system in a single evening, there was simply not enough time to inspect every single copy (or count out 300 individual copies by hand). So, accepting damage returns from our accounts (which probably didn’t make them very happy either) became a part ofour weekly routine during our non-distribution days.

The order in which we packed accounts seldom ever changed from week to week (unless we added new accounts, which actually happened pretty frequently as the direct Market was growing by leaps and bounds in those days). There was a strict sequence, mostly determined by how the comics were to be shipped. always first were the accounts that used Air Freight, which at this point was sadly a necessity for West coast accounts who want to compete with their competitors by having their comics on the racks on Friday – new Comics Day. (Eventually, the comics industry both improved shipping arrangements and moved new Comics Day to Wednesday to alleviate a lot of the craziness involved with shipping so much product in so short a time. now everyone could have their new comics by the all-important weekend selling days, without bankrupting themselves with shipping costs. Ultimately, it didn’t exactly work out exactly like everybody hoped – but that’s another story!)

Frantic!

Air Freight went out first, because it had an actual set deadline imposed by the airlines. When these packages were done, they were loaded on a CCD company van and driven across town to the airport – a trip which included a 20 MPH hairpin exit ramp from one highway to another. I found out that was completely harrowing when I had to drive the route one night when the regular driver was unavailable. having not driven cargo vans very often, I was quite surprised when my load (later estimated at about a ton and a half) suddenly shifted on me, and I went down part of the hairpin ramp tipped on two wheels. It was the first – and last time – I drove the van. It was, however, great experience for learning to drive clown cars at the circus.

Second, there were several UPS accounts that requested shipping to arrive on Friday, so they would have to be packed up and delivered to UPS before their cut-off time (somewhere around 8 PM). early on, this required another cross-town trip, but later UPS opened a branch just around the corner from CCD, making this requirement much easier. third was another van-load of stuff – CCD’s Minneapolis route. CCD had a number of major accounts in the twin Cities (and along the route), so those orders had to be done fairly early, so the van could make the overnight trip to deliver comics by Friday morning.

These three groups included most of CCD’s largest accounts and virtually everybody who were to get their comics delivered by Friday (with the exception of one last group). By now, it was well into Thursday evening, and we had been working at a frantic pace (usually without a break) up to this point. but there was one more account to do before we could take a break – CCD’s largest single account, Westfield Comics. Thankfully, it was also the easiest to deal with, since early on, Westfield shared the same building as CCD. Which meant all we had to do was gather their books together in one place, and then they would move them across the hall with hand trucks. (Later, after they outgrew their warehouse, Westfield would come with their own van or truck to pick up their books).

While the Westfield crew were busy counting and preparing the new books for their own shipping, the CCD crew could finally take a breather. By now, it was midnight or later. The folks that had been working most of the day – and into the night – went home for the evening, as most of them would be required to be back Friday morning to spell the all-night crew – of which I was a member, at least in my early days at CCD. The rest of us, usually a small crew of 4 to 6 people, took a quick meal break and went back to work at a slightly more humane pace, pulling and packing the larger accounts that didn’t care about getting their books on Friday and would be shipped out via UPS in the morning.

Uncanny X-Men #165

But first we had to clean up the wareho