Frank Barbiere, writer of The Precinct #3, talks with writer David Walker aboutShaft: Imitation of Life #1, both on sale now from Dynamite. Cover is by Matthew Clark. Interiors by Dietrich Smith.



FRANK BARBIERE: David, this is your second Shaft series. I’ve heard you speak about how much you enjoy the character, so I’m curious: going into this new series, do you have anything specific you’re trying to say?

DAVID WALKER: I definitely wanted to get a little deeper into the character himself, and show him developing and growing as a person. But I have to be honest, when it was announced last year that there was going to be a new Shaft movie, and that it was going to be “comedic,” I kind of went ballistic. For me, Shaft is not supposed to be a comedy, and I remain confident that if the film gets made, it will suck. But because I’m a writer, and driven by ego, I wanted to show how to add comedy to a Shaft story. We won’t see the comedic element until starting with the second issue, but it is there, and at no time is Shaft himself the joke. So, I can’t lie, this was me proving I could do a Shaft story with a touch of comedy, and that I could do it better than anyone in Hollywood. Now my secret is out … I’m a bit of a prick.



FB: You do a great job of bringing readers up to speed with the character and giving him personality and context. What do you think the most important part of Shaft is to communicate to new fans and readers who may be discovering the character for the first time?

DW: So many people have this idea of Shaft as some kind of comedic throwback to another era. I’m sorry, but that’s Black Dynamite. That’s Austin Powers. Shaft was always meant to be a serious character, with a complex personality. Ernest Tidyman originally wrote him as a veteran of the Vietnam war with a knack for killing people, and that’s what I ran with. Shaft is a dangerous man, who is as intelligent as he is deadly, and that’s a great combination.

FB: I know you’ve worked on Shaft novels as well. Is there anything specific in the comics that you feel works better? Does having the visual medium open up new doors to storytelling, or make the material more accessible? Anything you just like better (or at least remark as being very different) about Shaft’s comic incarnations?



DW: From the very beginning, I knew that for the comics I would deviate from the original Ernest Tidyman books by having Shaft narrate the series. The first-person narrative is a classic trope in detective stories, but for whatever reason, Tidyman didn’t use it. This provided me with an opportunity to distinguish my interpretation of the character for the original iteration. But when it came time to write the prose novel, I stuck with the third-person narrative of Tidyman. The difference in the two styles is pretty profound. In the comics, you get a sense of how intelligent Shaft is, and how he’s more than just a killer. You get that from the novel as well, but because he isn’t telling the story, it is possible to get into how really damaged he is. In writing, we talk about the “reliable” narrator—someone whose telling of the story can be believed. Shaft is a reliable narrator for his comic adventures, which can rely on visual cues to tell the story. But when the story is told solely with words, he can’t tell the story.

FB: The book looks great with excellent art and coloring. Do you have a favorite page or sequence from this issue? I particularly enjoyed the page with Shaft coming up from the subway and the montage of color behind him.



DW: Yeah, I love that montage where he’s coming out of the subway. I also love the scene where he meets the character Tito. Tito is going to play a big part in the story, in more ways than one. Tidyman’s original novels tended to be a bit homophobic. I had no desire to change or erase what he did, but I did want the opportunity to allow the character to grow a bit in terms of how he carries himself, and how he thinks about people who are different from him.

FB: I also noted you lettered the book yourself (something I like to do when I have the time). Do you feel like this adds anything to your creative process or brings you closer to the work?

DW: Lettering is kind of therapeutic for me, but it also gives me a chance to play with the story a bit more. I can tighten up dialog, move some things around, and just get a chance to feel like I’ve given it my all.

FB: Any closing thoughts on this new series you’d like to share?

DW: I’m thankful that Dynamite asked me back. My schedule was nuts, and I was worried there wouldn’t be enough time to do a second Shaft story, but I love the character so much, and wanted the opportunity to help develop him a bit more.

For more information on Shaft: Imitation Life #1, click here.

BOOM! Studios today revealed a first look at UNCANNY VALLEY #2, the next issue of a brand new original series by fan-favorite writer Tony Fleecs (Stray Dogs), acclaimed illustrator Dave Wachter (Teenage Mutant Ninja Turtles), and letterer Pat Brosseau. Join in on the wild ride of cartoon mayhem, family drama, and deadly secrets in UNCANNY VALLEY, available May 2024! As the mystery of Oliver’s origins continues to unfold, the literal cartoonish realism of his existence has to somehow be connected to his mother’s family history. And with his uncanny powers setting him apart from the other kids, what will Oliver do to make his own way in the world? Especially considering that there are sinister forces at play, watching from beyond our world… UNCANNY VALLEY #2 features covers by Dave Wachter and Tony Fleecs, along with Jorge Corona (Middlewest) & Sarah Stern, and Flaviano (Grim). UNCANNY VALLEY is the newest release from BOOM! Studios’ eponymous imprint, home to critically acclaimed original series, including BRZRKR by Keanu Reeves, Matt Kindt, and Ron Garney; Something is Killing the Children by James Tynion IV and Werther Dell’Edera; Grim by Stephanie Phillips and Flaviano; Stuff of Nightmares by R.L. Stine and A.L. Kaplan; Damn Them All by Simon Spurrier and Charlie Adlard; Once Upon a Time at the End of the World by Jason Aaron, Alexandre Tefenkgi, Leila del Duca, and Nick Dragotta; Know Your Station by Sarah Gailey and Liana Kangas; A Vicious Circle by Mattson Tomlin and Lee Bermejo; The Neighbors by Jude Ellison S. Doyle and Letizia Cadonici; Ghostlore by Cullen Bunn and Leomacs; Sirens of the City by Joanne Starer and Khary Randolph; Coda by Simon Spurrier and Matías Bergara; Rare Flavours by Ram V and Filipe Andrade; Underheist by David and Maria Lapham; and Animal Pound by Tom King and Peter Gross. The imprint also publishes popular licensed properties, including Dune: House Harkonnen from Brian Herbert, Kevin J. Anderson, and Michael Shelfer; Mighty Morphin Power Rangers by Melissa Flores and Simona Di Gianfelice; and The Expanse: Dragon Tooth by Andy Diggle and Rubine. UNCANNY VALLEY #2 will be available in comic shops May 15, 2024. It is available for pre-order at your local comic shop. Digital copies can be purchased from content providers, including Kindle, iBooks, and Google Play.

Uncanny Valley #2 A Main: MAR240084

Uncanny Valley #2 B Variant: MAR240085

Uncanny Valley #2 C 1:10 INCV: MAR240086

Uncanny Valley #2 D 1:25 INCV: MAR240087

Action scribes Josh Appelbaum and André Nemec are going to Disneyland.The prolific team behind Amazon’s high-profile spy series Citadel and showrunners on Netflix’s adaptation of Cowboy Bebop have been tapped to write Disney’s live-action adaptation of Space Mountain.Jonathan Eirich from Rideback, the banner that is behind Netflix’s hit live-action Avatar: The Last Airbender series, is producing the feature, which has been in development for several years, along with Joby Harold and Tory Tunnell of Safehouse Pictures. Harold was the project’s previous writer. Rideback’s Ryan Halprin is exec producing.The ride has no overarching theme nor memorable characters seen in such rides as Pirates of the Caribbean. In fact, Space Mountain in Disneyland has been turned into Hyperspace Mountain and given a Star Wars makeover on occasion. As such, the story is being created whole cloth with the ride acting as inspiration.Plot details are being kept in the hair-sweeping rush of the dark void as Appelbaum and Nemec build out the story. (via THR)

Joe Manganiello has come aboard to produce and star in Mountain Man, a zombie thriller set to enter production later this year, which will launch sales via Film Bridge International at Cannes. An adaptation of the popular book series of the same name from Keith C. Blackmore, Mountain Man tells the story of Gus, a lonely post-apocalyptic survivor facing isolation and the ever-present specter of a zombie attack, who struggles with alcohol abuse and suicidal thoughts until he discovers another survivor, a captivating woman who poses another threat altogether. John Lee (A24’s False Positive) will direct from a script by Matt Deller, with Nick and Joe Manganiello’s 3:59 producing alongside Danny Chan (Barbarian). (via Deadline)

Foundation star Sandra Yi Sencindiver has joined FX and Noah Hawley’s Alien series which is filming in Thailand. Exec-produced by Ridley Scott, the prequel series will be set towards the end of this century (franchise watchers estimate the date to be a few years before Prometheus, and some thirty years before Scott’s film). It’ll be the first project in the franchise to take place on Earth and has been reported to deal with the emergence of the story’s infamous Weyland-Yutani Corporation and the race between corporations to create new android life. The series will star Sydney Chandler, Alex Lawther, Essie Davis, Adarsh Gourav, Kit Young, Timothy Olyphant, David Rysdahl, Babou Cessay, Erana James, Lily Newmark and Adrian Edmonson. Deadline is reporting that Sencindiver appears in multiple episodes and will play a senior member of the Weyland-Yutani Corporation. There is reportedly scope for the character to grow in future series.

Maximum Carnage. Absolute Carnage. King in Black. Every few years, the wild symbiote corner of the Marvel Universe erupts in a saga oozing with violence, drama, and insanity that only Venom and his kind can deliver. This August, the next milestone symbiote event arrives in Al Ewing and Iban Coello’s VENOM WAR. A master at planning out epic storylines, Ewing has been laying the foundation for VENOM WAR since the very beginning of his current run of Venom. Limitless in scope, the series has followed Eddie Brock and his son, Dylan, on separate journeys as the symbiote heroes. But after both have terrifying glimpses of the future, they realize only one of them can be Venom. Their father and son feud will become everyone’s problem as past and present symbiote characters alike are forced to take a side! LAST VENOM STANDING! The Venom Symbiote has bonded with both Eddie Brock and his son Dylan at different points. Now both Brocks are going head-to-head, determined to be the one, true Venom! Father versus son in a showdown of showdowns that threatens to tear the world asunder! From heavyweight talent champions Ewing and Coello comes a Battle for the ‘Biote like you’ve never seen! "This is what we've been building to since the start of this wild and way-out symbiote odyssey - the fateful confrontation between father and son!” Ewing explained. “Where better to have it than inside the squared circle? And who better to bring this all-action epic to the page with than my old buddy Iban Coello? I'm tellin' ya, goo believer -- this is vehemently varied Venom violence like never viewed, and only one host can wear the symbiote when the dust settles! Who's it gonna be?" Stay tuned in the weeks ahead for more VENOM WAR news, including tie-in series announcements.

Paramount and Hasbro’s animated Transformers One is pushing back its release in theaters by one week in order to take advantage of Imax screens and to provide some breathing room from the competition.The film will now open Sept. 20, 2024, instead of Sept. 13. That gives it two weeks of distance from Sony’s Beetlejuice. Beetlejuice.Paramount revealed the date change as it launched a new trailer for Transformers One from nowhere other than space — a first for Hollywood, according to the studio. The launch kicked off at 6 a.m. PT with a livestreamed countdown showing the journey into space. After one hour, the craft reached its peak at 125,000 feet above the Earth, revealing the trailer with a custom introduction video from voice stars Chris Hemsworth and Brian Tyree Henry. The star-studded voice cast also includes Scarlett Johansson, Keegan-Michael Key and Steve Buscemi, with Laurence Fishburne and Jon Hamm. (via THR)

Trailer: https://youtu.be/u1rqoa8x7g4

On May 18, the next Marvel Comics crossover epic begins! From Avengers and Moon Knight scribe Jed MacKay and acclaimed X-Men artists Pepe Larraz and Marte Gracia comes the bloodiest event in Marvel history--BLOOD HUNT! The saga kicks off when eternal night washes over Earth, and vampires, united by a single vision for the first time in millennia, emerge from the shadows. To keep them at bay, a new world order may need to be put in place… Today, fans can get a peek at the final issue of the main series, on sale in July. In BLOOD HUNT #5, Doctor Strange is presented with a dread bargain to gain a chance to save the world. The Avengers ride into a battle they cannot win. The dead battle the undead across the globe. Will it be enough? Will the world be saved, and how will it be changed if it is? Featuring a dramatic shift for the future of the Marvel Universe! Check out the BLOOD HUNT #5 cover and pick up the debut issue on May 1.

Top Cow is reimagining the hit supernatural thriller series Witchblade. The new series, coming July 2024, will be penned by NYT Best-Selling Marguerite Bennett (Animosity, Batwoman, DC Bombshells) and visualized by artist Giuseppe Cafaro (Suicide Squad, Power Rangers, Red Sonja). The creative duo is working with original co-creator Marc Silvestri, who is the CEO of Top Cow Productions Inc. and one of the founders of Image Comics. Together, they will reintroduce the series to Witchblade’s die-hard fans with a reimagined origin with contemporary takes on familiar characters and new story arcs that will hook new readers and rekindle the energy and excitement that fueled the 90’s Image Revolution that shaped generations of top creators.Marguerite Bennett, who has been focused on writing for the upcoming Butterfly TV Series and Ark: The Animated Series, says, “The ability to tell a ferocious story full of monsters, sexuality, vision, and history was irresistible.” She adds, “Our saga is sleek, vicious, ferocious, and has a lot to say about power in the 21st century and will be the first time that we are stopping the roller coaster to let more people on. I’ve loved Witchblade since I was a child, and there is truly no other heroine like Sara with such an iconic legacy and such a rich, brutal relationship to her own body.”



In Witchblade #1, New York City Police Detective Sara Pezzini's life was forever fractured by her father's murder. Cold, cunning, and hellbent on revenge, Sara now stalks a vicious criminal cabal beneath the city, where an ancient power collides and transforms her into something wild, magnificent, and beyond her darkest imaginings. How will Sara use this ancient power, or will she be consumed by it? Through last year’s Witchblade Complete Collection Kickstarter, the world received a glimpse of Marc Silvestri’s Witchblade Armor redesign. But, a whole new universe has been created by Giuseppe Cafaro, who states, “The Witchbladeuniverse is being modernized to reflect how Marguerite beautifully explores the extreme sides of Sara through memories, her personal thoughts, like desire and hunger, in her solitude and when she is possessed by the Witchblade. So, I had to visually intersect a noir True Detective-like world with a supernatural, horror world that is a fantastic mix between Berserk and Zodiac!”Marc Silvestri notes, “This is brand new mythology around Sara, and I can’t wait for you to fall in love with her and all the twists and turns. Discover Witchblade reimagined this summer, and join us as we bring all the fun of the 90s to the modern age and see how exciting comics can be. I can’t wait for you to read this new series.”Witchblade #1 will be available at comic book shops on Wednesday, July 17th, for $4.99 for 48 pages. The Final Order Cutoff deadline for comic shop retailers is Monday, June 24th, 2024.



- Cover A: Marc Silvestri and Arif Prianto (Full Color)
- Cover B: Giuseppe Cafaro and Arif Prianto (Full Color)
- Cover C: Blank Sketch Cover
- Cover D (1/10): Dani and Brad Simpson (Full Color)
- Cover E (1/25): Marc Silvestri and Arif Prianto, Virgin Cover (Full Color)
- Cover F (1/50): J.Scott Campbell (Full Color)
- Cover G (1/100): Bill Sienkiewicz. (Full Color)
- Cover H (1/250): Line art by Marc. Virgin Cover, Inks (B/W)

Witchblade #1 will also be available across many digital platforms, including Amazon Kindle, Apple Books, and Google Play.

The bestselling creators behind the three-time Hugo Award nominated, two-time British Fantasy Award winning series Die—Kieron Gillen (The Wicked + The Divine, Immortal X-men) and Stephanie Hans (Secret Wars 1602: Witch Hunter Angela, Black Bolt)—will reteam for their first ever original graphic novel collaboration to be titled, We Called Them Giants. This epic, post-apocalyptic story is scheduled to hit shelves in November from Image Comics. Gillen and Hans first made waves with their breakout hit dark fantasy Die in 2018. Die quickly caught reader attention and the series skyrocketed to the top of the sales charts and launched Hans’ career into superstardom. It went on to appear on many Best of the Year lists, including that of Tor.com, and snagged multiple award nominations and wins. "After we finished Die, we knew we wanted to do something completely different. Rather than a sprawling ongoing, do something smaller, intimate, self-contained and really pure,” said Gillen. “So, in the middle of the covid lockdowns, I was left alone with my cats, staring at them, and them staring at me, and thinking about the miracle of relationships between beings of completely different kinds of intelligences, and the wonder of the jump across that gap. The image of the feral girl in the devastation and the giants came quickly after that, and we were away. People will fall in love and have their hearts broken—the full Hans/Gillen experience. Despite the post-apocalypse setting the story has an almost weird-fable kind of vibe, and ends up basically as a conversation between The Walking Dead and The Iron Giant. Basically, We Called Them Giants is the story of communication across a chasm at the end of the world. Folks have seen what Stephanie does on a month-by-month rush on an ongoing comic. Here, it's a thrill to see her luxuriate—creating this single long story, and being able to shape the whole thing into a poignant, romantic, devastating single canvas." We Called Them Giants follows main character Lori, who wakes to find the streets empty. Everyone has gone. Or at least, nearly everyone. She’s thrown into a world where she has to scrape by in the ruins of civilization, nearly starving, hiding from gangs when… They arrive. Hans added: “As an Artist, it is always a joy to work on new challenges, especially when it is with such a great Writer. Kieron wrote an emotional story in which he let me go wild on designs. It’s a new, beautiful end of the world tale, a little bit epic, a bit nostalgic and a bit contemplative. It’s nothing like we did before. In all the best ways.” We Called Them Giants promises readers the poignant, romantic, and devastating story of a young girl who wakes up to find her world has turned upside down. "This book is nothing short of incredible," said Eric Stephenson, Publisher and Chief Creative Officer at Image Comics. "Kieron and Stephanie had already established themselves as one of comics’ premier creative teams, but they’re operating at a whole other level with We Called Them Giants." We Called Them Giants hardcover (ISBN: 978-1534387072) will be available at local comic book shops on Wednesday, October 30 and independent bookstores, Amazon, Barnes & Noble, Books-a-Million, Indigo, and Waterstones on Tuesday, November 12. We Called Them Giants will also be available across many digital platforms, including Amazon Kindle, Apple Books, and Google Play.

Following Krakoa’s fall, it’s a dangerous time to be a mutant in the Marvel Universe. Luckily, Cyclops will step up to lead a formidable new team in Jed MacKay and Ryan Stegman’s X-MEN #1. Today, fans can see three new variant covers for the debut issue! In MacKay and Stegman’s X-MEN, mutant business is Cyclops’ business as the first X-Man makes it his mission to keep hope alive for the species—by any means necessary! Cyclops’ group includes some of his most trusted soldiers like Psylocke, Magik, and Beast, the brightest of the next generation including Kid Omega and Temper, along with powerhouses like Magneto and Juggernaut. Raising a flag of defiance at their new base in Alaska, everyone in the world will soon know that if they want to go after mutantkind, they’ll have to go through them first! X-MEN, the first of three flagship titles set in the X-Men’s From the Ashes era, will have new variant covers including a group shot by celebrated X-Men artist Tony Daniel, a character spotlight by J. Scott Campbell that will also be available as a virgin variant cover, and a hidden gem piece by the legendary George Pérez, whose iconic depiction of Beast during his time with the Avengers inspired Stegman’s own take on the character! Check out the covers and preorder X-MEN #1 at your local comic ship today!