Zenescope Previews: Wonderland Omnibus

Wonderland Omnibus

When she was just a young girl, Alice Liddle found herself transported to a dangerous world known simply as “Wonderland.” After many frightening encounters there, she eventually found her way back home… but that was only the beginning.

Now a grown woman with a family of her own, Alice will come to the realization that her visit to Wonderland, one she tucked away in her mind as just a bad childhood dream, was very real. And the nightmarish realm is now after her teenage daughter.

This massive Omnibus collects the first six trade paperbacks of one of the most popular and groundbreaking independent comic books on shelves today. Zenescope Entertainment reinvents the classic Lewis Carroll story as a supernatural horror tale for an entirely new generation of readers!

It’s time to uncover the madness and learn just how deep the rabbit hole really goes.

“The writing is great, the vision of the story is amazing, the art is consistently high quality… it’s a great time to get pulled into one of the best comic series out there.” – Superatomica.com

Created by: Joe Brusha, Ralph Tedesco, and Raven Gregory
Art Director: Anthony Spay
Trade Design: Christopher Cote, Stephen Schaffer, and David Seidman
Editor: Ralph Tedesco
Assistant Editors: Pat Shand and Nicole Glade

This Omnibus reprints the comic series Grimm Fairy Tales presents: Return to Wonderland, Beyond Wonderland, Escape From Wonderland, and Tales From Wonderland Volumes 1-3.

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Cover Art by: J. Scott Campbell
Colors by: Nei Ruffino
Trade Design: Christopher Cote

 

Wonderland Omnibus on Sale Wednesday (7/30/14) at http://shop.zenescope.com

 

Grimm Fairy Tales 100 and Realm War: Age of Darkness Announcement

Zenescope’s GRIMM FAIRY TALES #100 to herald an Age of Darkness in “Realm War.”

HORSHAM, PA May 2014 — As Zenescope Entertainment closes in on its landmark issue that’s been the heartbeat of the company for almost a decade, fans and retailers noticed the company began labeling many of its popular Grimm Fairy Tales (also known as GFT) titles with the “Age of Darkness” brand. Age of Darkness is a way to tell readers which titles connect, in one way or another, to the universe altering events of Grimm Fairy Tales #100 and the subsequent twelve-issue GFT Realm War “Age of Darkness” series that is set to release right after 100.


GFT 100 Cover A by Neal Adams/Colors by Ivan Nunes

Fans can enhance their experience by reading any or all of the Age of Darkness branded titles, yet there are four issues that are important to read in leading up to the anticipated GFT #100. Most of which are currently available for preorder in Diamond Previews May Catalog. The reading order of essential Age of Darkness issues is as follows:

  1. Grimm Fairy Tales 2014 Annual – May 14th release date
  2. Grimm Fairy Tales Realm Knights Age of Darkness one-shot – July 2nd release date
  3. Grimm Fairy Tales 2014 Giant Sized Edition – July 2nd release date
  4. Grimm Fairy Tales #99 – July 2nd release date
  5. Grimm Fairy Tales #100 – July 16th release date
  6. GFT Realm War “Age of Darkness” #1 – July 23rd release date

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GFT 100 Interiors by Anthony Spay/Colors by Ivan Nunes

Grimm Fairy Tales #100 arrives in stores July 16th and sets the stage for the brand new twelve part Realm War series, which is a direct continuation of the events that occur during issue 100.


Realm War 1 Cover E by Anthony Spay/Colors by Ivan Nunes

“Simply put, Realm War is a twelve issue ‘what if’ extension of Grimm Fairy Tales #100,” says Zenescope Editor-in-Chief and series co-creator, Ralph Tedesco “It’s epic, action-packed, and extremely fun. Hardcore fans and readers who are enjoying the Age of Darkness story arc are going to love this. Yet it begins at a point where new readers can jump on very easily.”

Meanwhile, Zenescope will be forging along with Grimm Fairy Tales #101, set for an August release that will run concurrently to Realm War. But #101 will begin a brand new, separate story arc that Zenescope says will not be a reboot of the franchise, but will definitely be new-reader friendly.


GFT 101 Cover A by Artgerm

“The new GFT arc will be a great jumping on point for new readers looking to begin the series without any confusion. The events of Grimm Fairy Tales #101 will begin in a different reality than those occurring simultaneously in the Realm War series,” says Tedesco.”And readers can choose to pick up either or both series without feeling like they’ve missed something. But for those who choose to read both, the mystery of the separate story lines will definitely pay off at the end of Realm War.”

“We spent a lot of time on working this all out,” stated Zenescope President and story co-creator Joe Brusha. “The idea with Realm War is to give long-time fans the big payoff they deserve after following this series for nine years. And that’s important to us. Meanwhile with Grimm Fairy Tales #101, we’re able to simultaneously start something both fresh yet familiar that’s easy for new readers to jump into while still appeasing the seasoned fans. With these two series, readers are literally getting the best of both worlds.”

Grimm Fairy Tale Flashback: Myths & Legends #25

by Dave Goodman

Grimm Fairy Tale Flashback is where we take a look into the truly massive archive of Zenescope Entertainment, pick a back issue and tell you why you should seek it out and read it. Think of us as your own personal highlight reel showing you the best of Zenescope over the years.

 If you are a regular reader of Zenescope’s Grimm Universe (and what self-respecting comic book fan wouldn’t be?) then you have probably noticed a subtle shift in the storytelling in their books over the last year or so. What began as a handful of titles with just the most tenuous of ties has become a tightly knit, single epic storyline being told with Grimm Fairy Tales at the center and various miniseries and one-shots spinning out from there. It has resulted in a more cohesive universe that is a lot of fun to follow and a blast to read each month.

And if we were to look back, we would see that this new style had it’s beginnings in the pages of Grimm Fairy Tales: Myths & Legends, specifically the final issue, #25.

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Launched in 2011 as a companion title to Grimm Fairy Tales, Myths & Legends promised to revisit some of the characters from the time when Zenescope’s flagship book was an anthology style comic, telling a different story with each couple of issues. Arcs centered on Red Riding Hood, The Beast, the Little Mermaid and so forth.

But in truth, we soon discovered that there was a plan in place to tie all these disparate characters into one massive storyline, The Summoning, which closed out Myths & Legends over the series final four issues.

And it did not disappoint for spectacle or drama. The Summoning was filled with action, character development and the world changing, widescreen type of consequences that are normally reserved for summer crossover events and the like. Issue #25 in particular was quite a game changer, introducing the powerful Helios to the Grimm Universe and revealing the fact that the US Government was aware of Highborns and Falsebloods and what they planned to do to “handle” the situation.

In many ways, the final issue of Myths & Legends paved the way for what came next, including Unleashed, Realm Knights, the Age of Darkness, the forthcoming Grimm Fairy Tales #100 and the ominously titles Realm War maxi-series launching in July. Myths & Legends #25 completely changed the tone of the Grimm Universe, showing readers that Zenescope was not afraid to shake things up and that they had no interest in maintaining the status quo.

If you haven’t read The Summoning yet, I highly recommend you do. The entire arc is available on Comixology as well as in the pages of the fifth Myths & Legends trade paperback.

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Interview with ANTHONY SPAY

Listen to the interview here: ANTHONY SPAY on MORE LIKE RADIO

Our very own Art Director/Artist Anthony Spay gives a personal interview with Michael Falcone of More Like Radio. He lets us in on his life growing up, playing the viola, some of his musical tastes, football and of course… comic books.

Anthony lets you in on what he’s reading, breaking into comics, giving critiques and where ideas come from for exclusives.

He also gives a little insight into the thought process of writing Grimm Fairy Tales and leaks a little information on the upcoming Grimm Fairy Tales 100, and much more.

Follow Anthony on Twitter: @anthonybspay
Follow Zenescope on Twitter: @Zenescope
Like Zenescope on Facebook

Listen to the interview here: ANTHONY SPAY on MORE LIKE RADIO

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Behind the Scenes with Pat Shand: ROBYN HOOD: LEGEND #1

PAGE BREAKDOWN

Featuring Robyn Hood: Legend #1

Hey guys. Pat Shand here. A lot of you have been asking for some behind the scenes looks at what we do at Zenescope, so I figured it’s about time to bring that to you. I work as staff writer and editor for the company, so I get to witness the crazy cool weirdness that is the creation of a comic book.

Since ROBYN HOOD: LEGEND #1 is coming out next month, I figured now would be a great time to give you a teaser for that series, while also showing what goes into the creation of a page.

First, we start with a story outline. What we at Zenescope usually do is write anywhere from a page to a page and a half detailing what happens in any given issue. That is one thing I’m not going to show here, though. Spoilers!

Next step is the script. Personally, I write in the full script method. I know some folks use the “Marvel method” that Stan Lee popularized – I was recently listening to an excellent podcast that Kieron Gillen conducted with Matt Fraction and David Aja, the creative team on Marvel’s Hawkeye. Those two are operating under a somewhat tweaked version of the Marvel method, where a writer will give a loose outline of a page that the artist then breaks down into panels. After that, the writer will add dialogue. For me, though, as a writer and as an editor, I prefer laying out the entire page for the artist.

 

Here’s my scripted page for ROBYN HOOD: LEGEND #1:

Page Five

Panel 1. Back in the cab. Robyn tosses the cabbie a fat stack of hundreds.

1 ROBYN:
Take the rest of the night off.

2 CABBIE:
I… This is…

Panel 2. Exterior shot. The cabbie stands outside of his cab, waving to Robyn as she walks AWAY from him, toward her apartment, the same one we saw in the GFT HOLIDAY EDITION 2013.

3 CABBIE:
Thank you, miss! THANK YOU!

4 CAP (ROBYN):
Long day. Ate too much. Helped that guy out. Saved some idiot from getting killed. Shot some lowlifes in the knees, which is always fun.

Panel 3. Robyn throws the briefcase on her couch like it means nothing to her.

6 CAP (ROBYN):
Got a payday in the process.

Panel 4. Robyn pulls on her shorts for bed. She is wearing a ratty old t-shirt.

7 CAP (ROBYN):

I’m doing good. Maybe even making a difference. All in a day’s work.

Panel 5. Robyn climbs into bed, looking disturbed.

8 CAP (ROBYN):
Maybe, someday, it will make me feel better about what happened. Make me feel… something.

9 CAP (ROBYN):
Someday…

Now, here’s the thing about this script. Larry Watts, the artist on Robyn Hood, and I have been collaborating together for years, so I know his style. My panel descriptions are loose, and I tell him as often as I can that he can do with them what he likes. He’s made changes before for pacing, focus, and style, and I always defer to him because I trust his visual storytelling.

 

Here’s Larry’s page.

1

Many artists start with a layout phase. Larry does, too, but since he works on pages in bunches, instead of having true layouts, he’ll submit a page of penciled work. He always has pages in various stages of completion, so when he’ll e-mail me work, I’ll see some pages completely inked for the first time, like the page above, while others will be partially inked or just penciled.

After Larry’s work is in and approved, we get the colorist on board. The new ROBYN HOOD series colorist debuted with us on this month’s AGE OF DARKNESS one-shot. His name is Slamet Mujiono, and once we saw his color work over Larry’s lines, we knew they were a match that we’d strive to keep together.

Here’s Slamet’s colors for the page:

2

Slamet’s color work here accentuates the realistic, subtle acting that Larry is doing with Robyn, while also adding a very specific tone with his use of blues. A great colorist will tell a story along with the writer and the artist, and that is very much what Slamet does on this book.

Finally, we’ve got the letters. Jim Campbell is our go-to letterer at Zenescope, and that’s because he always does a damn good job. We ask a lot of Jim, and he always delivers, making the scripts better, influencing the voices of the characters, and making sure that the reader’s eye is able to properly follow the flow of the story.

3

A lot of times, we’ll tweak the dialogue after seeing the final letters. It’s the first time that the story and the art are truly becoming one, and the words will always appear differently over the art than in the original script. Clunky wording becomes clearer, and new, better ways that writers just can’t see in the drafts they’ve polished over and over again can suddenly burst through the fog when seen in context of a page.

 

Thanks for reading! I’ll be back with some more insight into the various creative processes of Zenescope Entertainment.

 

ROBYN HOOD: LEGEND #1 is written by Pat Shand, drawn by Larry Watts, colored by Slamet Mujiono, and lettered by Jim Campbell. It hits shelves March 19th, 2014.