Zenescope Announces Year-Long Cosplay Contest Debuting at Emerald City Comic Con

Zenescope Announces Year-Long Cosplay Contest Debuting at Emerald City Comic Con

Horsham, PA – Comic book publishing house, Zenescope Entertainment, has announced plans to kick off a year-long Cosplay Contest during the company’s appearance at the 2018 Emerald City Comic Con. This is the company’s seventh time exhibiting at the popular Seattle-based convention that takes place annually at Washington State Convention and Trade Center.

Emerald City attendees can enter the cosplay competition throughout the convention weekend by heading to Zenescope booth #1913 in costume where they’ll have their picture taken and posted to Zenescope’s Facebook page. The cosplayer with the most “likes” will be named the Emerald City winner and receive a special prize to be announced during the convention weekend.  All entrants will also be automatically entered into Zenescope’s quarterly Cosplay contest. Quarterly winners will receive a $100 Visa gift card and a limited edition Zenescope Exclusive comic book.  Finally, the four quarterly contest winners will compete for the 2018 grand prize which includes being drawn into a Zenescope comic book as well as limited edition Zenescope merchandise.

Zenescope is also giving those unable to attend the convention an opportunity to enter the contest from home.  Entrants who post a photo of their cosplay on Instagram, Twitter, or Facebook with the hashtag #ZenCosplay18 will have their photo shared on the Zenescope Facebook page to enter the competition.  

Zenescope will be holding Cosplay Contests at several other major comic conventions during its 2018 convention tour including C2E2 in Chicago April 6-8th, Motor City Comic Con May 18-20th, Phoenix Comic Fest May 24-27th, San Diego Comic Con July 19-22nd, and New York Comic Con October 4-7th.

Throughout Emerald City weekend, Zenescope will also be offering brand new merchandise including four different limited edition exclusive comic books with artwork by superstar artists Elias Chatzoudis and Mike Krome as well as Zenescope trade paperbacks, graphic novels, art books and coloring books at discounted prices. For more information on Zenescope’s 2018 convention tour visit www.zenescope.com or Like Zenescope at www.facebook.com/zenescope

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ZENESCOPE Zenescope Entertainment was founded in 2005 by Joe Brusha and Ralph Tedesco and has grown into one of the most recognized independent comic book and graphic novel publishers in the world. Zenescope currently boasts the largest female-driven shared universe in comic books and focuses on an edgy and non-traditional brand of story-telling that sets it apart from the pack. The company publishes and develops both original and licensed comic books and graphic novels such as Grimm Fairy TalesNeverland, Return To Wonderland, The Courier, The Library, Inferno, and Spirit Hunters to name a few.  Some of Zenescope’s past and present publishing and media partnerships include Discovery Channel, History Channel, CBS Consumer Products, New Line Cinema, Scholastic, Titmouse Studios, and several others.

Zenescope Entertainment Announces Brand New January Releases

Zenescope Entertainment Announces Brand New January Releases

Horsham, Pennsylvania – Zenescope Entertainment has announced the release of three new mini-series this month. The company plans to publish several brand new titles throughout 2018 with Van Helsing vs. Robyn Hood, Robyn Hood: The Curse, and Belle: Beast Hunter being the first to hit shelves. These three new series are also part of Zenescope’s popular and continually growing shared universe of characters.

Van Helsing Vs. Robyn Hood is the sixth installment of the company’s hit Van Helsing franchise. Written by Zenescope co-founder, Ralph Tedesco (The Courier, Grimm Tales of Terror), this spinoff series pits two best friends against one another after they discover a criminal’s plan to create a loyal vampire army using a synthetic drug. Van Helsing Vs. Robyn Hood is a four issue mini-series with artwork by Allan Otero and colors by Leonardo Paciarotti.

Robyn Locksley takes on new adventures in her latest Series, Robyn Hood: The Curse. This six issue mini-series is being written by comic book industry veteran Chuck Dixon (Van Helsing vs. The Werewolf, Batman, The Punisher) with artwork provided by Julius Abrera and colors by Robby Bevard. Robyn Hood: The Curse follows Robyn Locksley as she finds herself face to face with a terrifying new evil that threatens the lives of her closest friends, Marian and Sam.

Belle: Beast Hunter is penned by Zenescope writer & editor, Dave Franchini (Cinderella: Serial Killer Princess, Spirit Hunters). Belle is a regular girl whose unique heritage forces her to live two very separate lives. Her normal life is that of a grade school teacher in Philadelphia, but the other is that of a well-trained mythical beast hunter. Belle: Beast Hunter is limited to six issues with Bong Dazo and Juan Manuel Rodriguez providing artwork for the series.

Look for all three series this month on shelves at comic book retail stores, digitally at Comixology.com, or for direct order through Zenescope’s website www.zenescope.com.

    

ZENESCOPEZenescope Entertainment was founded in 2005 by Joe Brusha and Ralph Tedesco and has grown into one of the most recognized independent comic book and graphic novel publishers in the world. Zenescope currently boasts the largest female-driven shared universe in comic books and focuses on an edgy and non-traditional brand of story-telling that sets it apart from the pack. The company publishes and develops both original and licensed comic books and graphic novels such as Grimm Fairy TalesNeverland, Return To Wonderland, The Courier, The Library, Inferno, and Spirit Hunters to name a few.  Some of Zenescope’s past and present publishing and media partnerships include Discovery Channel, History Channel, CBS Consumer Products, New Line Cinema, Scholastic, Titmouse Studios, and several others.

Featured Colorist Interview – Robby Bevard

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The upcoming Neverland: Return of Hook, which features Robby’s coloring.

Zenescope Entertainment: The first thing I noticed about your career was the impressive amount of issues you’ve appeared on.  Do you have a fondest memory of working in comics throughout the years?

Robby Bevard: Fondest would have to probably be the most nostalgic.  Going waaay back to when I wrote and colored Ninja High School Issue 85 in June 2001 for Antarctic Press.  It wasn’t quite the first published comic I wrote, or the first one I worked on coloring, but it was the first time I did the entirety of both, and I was really pleased with how that particular story came out. I worked on NHS for 10 years, and that remained one of my top five issues the whole time.   Aside from that, probably coloring Spiderman for the first time, because that’s naturally a thrill and something you can tell people that aren’t big comics fans about that they’ll actually grasp and understand.

I’ve been doing this for nearly twenty years so there have been tons of little moments or particular pieces or issues, or just getting to work with a particular artist, lots of things that stand out when you do so many projects.

ZE: With the diversity in your work also comes a wide array of titles.  Some of the books look to have more of a manga style, is your approach to coloring those different than coloring Zenescope books?

RB: Yes, there are absolutely different approaches to both.

As a colorist, you always try to match whatever style is appropriate for a book.  Sometimes that’s light rendering, sometimes it’s fully painted, sometimes it’s two-tone animation style.   Usually the artist worked in ink but sometimes they’re in pencil, and some artists use super heavy shadows… and any given style is going to call for a slightly different approach and style.  Different color palettes for starters, and less use of textures.

Anime/Manga style is generally a much quicker and easier style, but deceptively so.  You have to get the selections, colors and shadows just right or it looks weird, while with rendering you can futz with it a bit.  There are strengths and weaknesses and things to like about both styles… and then there are other extremes like fully painted style and strong flat colors where the choices become super important, and a lot of things in-between.  But I’ve had a toooon of practice at animation style, so I can do it practically in my sleep.  So I prefer working in that style generally, but it’s nice to work in rendering as a change of pace.

ZE: Although artists usually get the spotlight, I feel that colorists are equally as important and can make or break a piece.  Can you explain what your job is as a colorist and any common misconceptions about the position?

RB: A colorist’s main job is to set mood and try to pull a piece together, emphasize and focus on whatever is important on a page, and to enhance the storytelling.  For instance, if a scene is set at night, an artist typically has to add super heavy shadows to indicate that…and some styles just don’t gel very well.  So the colorist makes the scene blue, and uses some darker shades that aren’t quite black, to help push that idea.  Or if a scene is angry you put some red to it.  If there’s a weird sci-fi thing going on you can do green underlighting to make it look creepy and unusual.  Or even if the script doesn’t call for it, you put an action scene to a sunset so it can get really violently red at the climax and then organically cool down afterward.  It’s all about enhancing the work the writer and artist already did.

Sometimes a colorist can elevate bad art or hide anatomy mistakes (which are going to happen when you’re doing 200 drawings per issue), but a bad colorist can ruin a piece by being too muddy or garish or obscuring the lines.  And sometimes the art is so strong you hardly have to do anything at all.

I think historically, the importance of colorist has been downplayed because prior to the advent of digital coloring about twenty years ago, the color separations were just guides using the same 64 colors, so you always saw the exact same shades for skin tones and blues and reds.  As a result, unless they were a real auteur, using very unusual color choices, the work of one colorist was generally fairly indistinguishable from the next, especially when the colorist was basically doing guides that the printer then followed, so there wasn’t much art or skill to be perceived in it.  I think coloring is a much more recognized part of a book now than it was, as it’s largely become industry standard to see colorists credited on the covers now, and there are so many amazing colorists in the industry now it’s hard to not take notice.

The really invisible jobs are inkers, letterers, and editors, because if those jobs are done right, they’re completely invisible and easy to take for granted.  Even though a great inker can make or break an artist (the same way a colorist can) and lettering is exceptionally deceptive and difficult to do well. There’s a part of making comics that people just assume computers make easy (and they do!) but good lettering is its own art form too, and I could talk endlessly about that.

ZE: Switching gears a bit, when you’re not coloring what do you enjoy doing with free time?

RB: Free time?  What’s that?  I do two or three books every month!

But when I *do* have time I relax by doing the standard stuff.  Spend time with my wife, watch movies, read books, play video games, the usual sort of thing anyone who works in comics is going to be doing…I’m a big fan of RPGS though they tend to take me months to get through anymore.

ZE: You’ve done work for pretty much every publisher under the sun, so would you be able to give some insight on working for the big two versus independent publishers?

RB: As far as actual production goes, there’s not much difference between any given comic company really, big or small.  Some treat their creators better than others and some are better and worse about paying, but any studio you go to is going to be pretty similar in the broad strokes.

I guess the main difference is at Marvel and DC it’s much easier to be a cog and get lost among the hundreds of other creators there.  If you don’t have an editor or creator fighting for you specifically that remembers you, you can be left without a job and then not have another way back in, even if you’ve done a hundred books at the company.  Indies you tend to end up being a bit more in charge and often it’s your responsibility to push a book to get done, even if you’re not the editor, because it’ll just be a team of two or three people.  The smaller companies also tend to only have a staff of a dozen people or less, so you end up knowing everyone personally.

What’s really different is working on a European book, as they have much longer timetables and demand a lot more time being put into reference.  A single 48 page European book can take four or five months to do, when that’s typically the output of a single month of American comics.

But the overall environments and feel of a place tend to be pretty similar…it’s actually pretty striking how if you visit any comic company, you’ll see similar sorts of people and similar amounts of clutter and reference books and toys anywhere you go, and you’ll inevitably find that half the guys at one place are a lot like the guys at another.

Though if you’re working from home and just emailing pages the distinction gets lost some…it’s definitely way more fun to go up to an office and be able to hang out and feed off everyone’s energy in a community environment…though setting your own hours is nice too.

ZE: You write as well as color.  Have you ever favored one over the other or do you like both equally?

RB: They’re both rewarding in very different ways.  Writing is almost definitely more satisfying creatively. But with coloring you’re the last stop and it’s easier to look at and show off and realize “Yeah, I did stuff!”

Professionally, it’s also easier to do freelance as an artist, be you a penciller, inker, or colorist, because an editor can look at a portfolio quickly, whereas writing takes a long time, and getting a job as an editor takes even longer.  So for anyone just starting out, it’s generally easier to get work as an artist.

I used to consider myself a writer that did coloring on the side, but for the last several years it’s been the other way around, most of my work is coloring nowadays.  I still enjoy both.

ZE: What has been your favorite Zenescope project to work on and why?

RB: That would probably be the book I’m working on right now actually, Helsing vs the Werewolf.  Mostly because it’s been the first full miniseries I’ve done for Zenescope, so I’ve been able to really establish a mood and setting, and a set of reference photos and a pallet and get used to the artist…and it’s *always* nicer to be doing an ongoing rather than a one shot, because the first issue is always the hardest of any book.

Of the one shots I worked on, probably the GFT 2016 Annual because the nature of that story let me do something I’ve wanted to do for a long time but never managed before.   I made that entire issue a rainbow.  The story started out red, then went orange and yellow with some fire effect pages… and then a creepy green and a moody blue and then ending in a bright vibrant purple.  And that was a really fun thing to do.  The script didn’t ask for that, and I was subtle enough about it I don’t think anyone would be jarred and go, “gah, it’s a rainbow!” but it was something I saw I could do, so it was fun to run a subtle theme throughout.

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Grimm Fairy Tales: 2016 Annual, featuring Robby’s colors on Chapters 2 & 3.

ZE: If you weren’t in comics, what would you be doing?

RB: There is no “if I wasn’t in comics.”  It’s what I’ve always wanted and needed to do since I was five.  There was no other backup career.  But if not this, it’d be one of the sister industries.  Animation, writing novels, something in video games maybe?   I’ve never given it serious thought or pursuit, it’s always been comics.

ZE: If you could only watch one movie for the rest of your life what would it be?

RB: Well, my favorite movie of all time is Miyazaki’s Castle of Cagliostro…but if it was really going to be just one film forever… I guess I’d want to pick out something that was a lot longer…so I’ll cheat and say the Lord of the Rings trilogy, complete with four commentaries and bonus features.

ZE: If you could work on one book on shelves right now, what would it be and why?

RB: Oh that’s not fair, most of the books I like I actively like the creative team already on the book, and I like actually being surprised.  There’s some TV show and game tie-ins that would probably be fun because I like the properties, but to keep it specifically to comics…I guess I’ll say Usagi Yojimbo.  Because Stan Sakai has been rocking that series for 30 years and it’s never really been in color except for a couple specials.  So that would be a fun project.

ZE: Thanks for your time, is there anything else you’d like to say to the fans?

RB: Thanks for reading!  So long and thanks for all the fish!

Zenescope Entertainment Releases Plans For New York Comic Con 

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Horsham, Pennsylvania – Zenescope Entertainment has unveiled its plans for New York Comic Con 2017, which runs October 5th– 8th at the Jacob K. Javits Convention Center. The popular comic book and graphic novel publisher will be located at booth #1906 throughout the four-day event. Be sure to check out information for all the new series launching in 2018 from Zenescope on their Facebook page during the show.

Celebrate Halloween early, as Zenescope will be hosting a cosplay photo contest during New York Comic Con where convention attendees who are in costume are encouraged to head to booth #1906 and have their picture taken at Zenescope’s “Red Carpet” photo booth. All photos will be posted to the Zenescope Facebook page, and will be entered in a chance to win a daily prize pack that includes movie tickets and limited edition Zenescope merchandise. Attendees not in costume can still take a keepsake photo with Zenescope’s beautiful booth models, and will also receive 10% off any purchase at the booth just by presenting their picture at checkout.  Some exclusions may apply.

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Appearing at scheduled times throughout the weekend along with the Zenescope booth models will be ultra-popular cosplayer Elise Laurenne, who will be signing prints and taking photos with fans daily.  Zenescope co-founders Joe Brusha & Ralph Tedesco and Zenescope Executive Editor and writer Dave Franchini will all also be signing at the booth Thursday through Saturday. Check www.zenescope.com for all appearance and signing times.

Lastly, Zenescope will have over fifteen exclusive variant covers with horror movie and cosplay themes for this year’s Comic Con. Also available will be one-of-a-kind acrylic prints with artwork by fan-favorite industry professionals such as J. Scott Campbell, Greg Horn, Eric Basaldua, Jamie Tyndall, and Elias Chatzoudis. Zenescope fans, collectors, and newcomers will have the opportunity to purchase some of the most highly sought-after exclusive content in the industry while supplies last. To find the signing schedule, sales specials, and more, visit here.

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ZENESCOPEZenescope Entertainment was founded in 2005 by Joe Brusha and Ralph Tedesco and has grown into one of the most recognized independent comic book and graphic novel publishers in the world. Zenescope currently boasts the largest female-driven shared universe in comic books and focuses on an edgy and non-traditional brand of story-telling that sets it apart from the pack. The company publishes and develops both original and licensed comic books and graphic novels such as Grimm Fairy Tales, Neverland, Return To Wonderland, The Courier, The Library, Inferno, and Spirit Hunters to name a few.  Some of Zenescope’s past and present publishing and media partnerships include Discovery Channel, History Channel, CBS Consumer Products, New Line Cinema, Scholastic, Titmouse Studios, and several others.

Shameless Writer LaToya Morgan Joins Zenescope For Robyn Hood: The Hunt

Zenescope Entertainment has announced that TV Writer and Producer LaToya Morgan (Turn: Washington’s Spies, Into the Badlands, Shameless) will be handling writing duties for Zenescope’s newest Robyn Hood six issue mini-series entitled Robyn Hood: The Hunt with Salvatore Cuffari (Grimm Fairy Tales) providing artwork for the series. This comes on the heels of the announcement that Bane creator Chuck Dixon will be penning Zenescope’s upcoming Van Helsing Vs. The Werewolf mini-series.

“We’re committed to continuing to bring on the highest quality writers to work with,” said Zenescope co-founder and Head of Film & Television, Ralph Tedesco. “LaToya’s a phenomenal talent who’s worked with us before and we’re lucky to now have her writing one of our most popular and beloved characters.”

“I’m thrilled to be writing this new series for Zenescope!” said LaToya Morgan.  “This is one of the crown jewels of the company’s many wonderful comic book titles. Thanks to Ralph and the team for entrusting me to continue the adventures of this amazing character.”

Robyn Hood: The Hunt is the latest installment of Zenescope’s modern day re-imagining of the centuries-old Robin Hood folklore. The Hunt follows protagonist Robyn Locksley as she’s transported to an otherworldly high-tech maximum security prison. There she must fight for her life against some of the very beings she has placed inside the prison while also attempting to stop a terrifying new evil.

Robyn Hood: The Hunt hits shelves July 2017.

 

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ZENESCOPE

Joe Brusha and Ralph Tedesco started out writing screenplays together about fifteen years ago but the two eventually came up with the idea that evolved into Zenescope Entertainment. The company was founded in 2005 and has become one of the most recognized independent comic book and graphic novel publishers in the world. Ralph and Joe’s edgy and non-traditional brand of story-telling sets them apart from the pack. Zenescope’s Grimm Fairy Tales and subsequent spinoff series such as Oz, Wonderland, Neverland and Robyn Hood, which re-imagine classic fables, are some of the best-selling and longest-running original independent comic books on shelves today. Zenescope publishes and develops both original and licensed material and has worked with dozens of clients that include Discovery Channel, History Channel, CBS, Lionsgate TV, Mandalay Vision, New Line Cinema, Titmouse Studios and many others.

Zenescope Entertainment has brought an exciting new feel to comics and are proud to have such a devoted fan base coming along for the ride.

Zenescope Entertainment relaunches Grimm Fairy Tales

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Zenescope Entertainment set to return to its roots with new installment of Grimm Fairy Tales

HORSHAM, PENNSYLVANIA — 
Comic book and graphic novel publisher Zenescope Entertainment is excited to announce that Grimm Fairy Tales, the company’s flagship series, returns this December. 

Grimm Fairy Tales is the cornerstone of Zenescope’s Grimm Universe and its evolution shows just how much the company has 
expanded over the  past eleven years. The new Grimm Fairy Tales follows Sela’s daughter, Skye Mathers, who has taken over her mother’s responsibilities as the Guardian of the Nexus. And series creators Joe Brusha and Ralph Tedesco are taking the epic series back to its roots.
 
“The new series will follow Skye as she attempts to guide those who may have untapped special abilities and are heading down the wrong path in life.” Says Zenescope co-founder, Ralph Tedesco. “Each story will be self-contained and very much in line with the earlier issues of the original series. And we’re armed with a brand new batch of stories to explore. It’s going to be a very fun series for both new readers and GFT veterans alike.”
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Grimm Fairy Tales #1 features 7 covers by some of the industry’s best talent, including David Finch, Eric Basaldua, Greg Horn, Talent Caldwell, and Josh Burns.  The creative team includes veterans and newcomers alike, boasting names such as, Grimm Fairy Tales co-creator, and writer Joe Brusha (Death Force, & E.V.I.L. Heroes), jaw dropping interior art by Ediano Silva, colors by Ivan Nunes (The Little Mermaid, & DC’s Cyborg), and letters by Taylor Esposito of Ghost Glyph Studios (Robyn Hood: I Love NY & DC’s Batman Eternal).
 
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ZENESCOPE
Joe Brusha and Ralph Tedesco started out writing screenplays together about fifteen years ago but the two eventually came up with the idea that evolved into Zenescope Entertainment. The company was founded in 2005 and has become one of the most recognized independent comic book and graphic novel publishers in the world. Ralph and Joe’s edgy and non-traditional brand of story-telling sets them apart from the pack. Zenescope’s Grimm Fairy Tales and subsequent spinoff series such as Oz, Wonderland, Neverland and Robyn Hood, which re-imagine classic fables, are some of the best-selling and longest-running original independent comic books on shelves today. Zenescope publishes and develops both original and licensed material and has worked with dozens of clients that include Discovery Channel, History Channel, CBS, Lionsgate TV, Mandalay Vision, New Line Cinema, Titmouse Studios and many others.
Zenescope Entertainment has brought an exciting new feel to comics and are proud to have such a devoted fan base coming along for the ride.

Grimm Fairy Tales #125

Cover A Cover B Cover C Cover D Cover E
Anthony Spay | Jorge Cortes Abhishek Malsuni | Zsolt H. Garisa | Neeraj Menon Abhishek Malsuni | Zsolt H. Garisa | Neeraj Menon Nei Ruffino Alfredo Reyes | Erick Arciniega

SERIES FINALE! HUGE, TRIPLE-SIZED ISSUE!

The grand finale of Zenescope’s longest-running title is here in this over-sized event issue. Sela, the students of Arcane Acre, and the Realm Knights enter the final battle against Bloody Bones! Wonderland, Neverland, Oz, Myst, and Earth must stand together against the greatest threat to ever threaten the realms of power.


Writer: Pat Shand
Artwork: Andrea Meloni
Colors: Erick Arciniega
Letters: Ghost Glyph Studios
Editor: Pat Shand
Production & Design: Christopher Cote | Joi Dariel

New Releases are available for purchase at your local comic shop (1-888-COMIC-BOOK) and our shop!

Zenescope Unveils E.V.I.L. Heroes at San Diego Comic-Con

HORSHAM, PENNSYLVANIA— Philadelphia-based publisher Zenescope has branched out as of late.  Several of the company’s most recent titles have been departures from the more familiar Zenescope fare.  Most notable of these new titles may be E.V.I.L. Heroes. 

Zenescope plans to unveil the new series with variant covers at San Diego Comic Con.

John Lyons, Director of Sales & Marketing for Zenescope commented, “The response to E.V.I.L. Heroes has been remarkable.  Both our fans and our retail partners have really embraced this title.  We are really excited to see the response on wider release and to see fan reaction to the special E.V.I.L. Heroes art we have created for San Diego.”

In addition to the release of E.V.I.L. Heroes at San Diego Comic Con, Zenescope plans to feature ten new cover variants on a number of different titles as well as convention-only exclusive products, including their new ZenBox offering.  Zenescope can be found at Booth #2301.

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Zenescope Entertainment was founded by Joe Brusha and Ralph Tedesco in 2005, and has quickly grown into one of the top comic book and graphic novel publishing companies in the world—best known for re-imagining public domain properties as horror, sci-fi, and action/adventure series. The popular Grimm Fairy Tales has spawned dozens of critically acclaimed “shared universe” series like Oz, Wonderland, Robyn Hood, and Neverland, to name a few; and their unique blend of genre mash-ups include best-selling titles such as Aliens Vs. Zombies, Coven, Inferno, and the upcoming Escape From Monster Island and Satan’s Hollow. The company continues to work with dozens of clients which include Discovery Channel, History Channel, CBS, Lionsgate TV, SYFY Channel, New Line Cinema, Titmouse Studios, and many others.

Mankind Will Face Extinction in July!

EVILHeroes

FOR IMMEDIATE RELEASE
June 2, 2016

Not Your Regular Zenescope Fare. 
E.V.I.L. Heroes Delivers Destruction July 2016!

HORSHAM, PENNSYLVANIA— As of late, Zenescope Entertainment has been rolling out a variety of titles that one might not associate with the popular publisher.  A few weeks ago Zenescope released their Aliens vs Zombies trade paperback and they are nearing completion of their Escape from Monster Island series.  Zenescope is also past the halfway point for their new urban legend horror title, Satan’s Hollow.  This week is the unveiling of Death Force, a powerful revenge tale.

July holds the most talked-about title of the lot. A new foray for the Philadelphia-based publisher, E.V.I.L. Heroes is the recounting of humankind being enslaved by Superheroes. Will mankind survive and remain strong enough to challenge their self-appointed masters? Or will we be pushed closer to extinction?

The E.V.I.L. Heroes creative team features Zenescope co-founder and writer Joe Brusha (Satan’s Hollow & Realm War), artist Eric J (Grimm Tales of Terror, Fly, & Rex Mundi), and colorist Marco Lesko (Grimm Tales of Terror & Deus Ex: Children’s Crusade).

EVIL Heroes 1EVIL Heroes 2EVIL Heroes 3

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Zenescope Entertainment was founded by Joe Brusha and Ralph Tedesco in 2005, and has quickly grown into one of the top comic book and graphic novel publishing companies in the world—best known for re-imagining public domain properties as horror, sci-fi, and action/adventure series. The popular Grimm Fairy Tales has spawned dozens of critically acclaimed “shared universe” series like Oz, Wonderland, Robyn Hood, and Neverland, to name a few; and their unique blend of genre mash-ups include best-selling titles such as Aliens Vs. Zombies, Coven, Inferno, and the upcoming Escape From Monster Island and Satan’s Hollow. The company continues to work with dozens of clients which include Discovery Channel, History Channel, CBS, Lionsgate TV, SYFY Channel, New Line Cinema, Titmouse Studios, and many others.

Zenescope Hits Motor City Comic Con With Robyn Hood: I Love NY

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FOR IMMEDIATE RELEASE
May 11, 2016

Zenescope Hits Motor City Comic Con With Robyn Hood: I Love NY

HORSHAM, PENNSYLVANIA—Zenescope Entertainment will be revealing cover art surrounding the newest adventures of the company’s badass archer, Robyn Hood, at Motor City Comic Con May 13th– May 15th, Booth #303!

Zenescope will be releasing Limited Edition Art Prints for Robyn Hood: I Love NY, which will hit shelves in June with four cover variants. In addition, at Motor City Comic Con, Zenescope will feature, US Veteran of War, bodybuilder and popular Robyn Hood cosplayer, Nora Aly.

Robyn Hood: I Love NY is an action-packed 12-issue series brought to you by this amazing creative team from Zenescope: co-founder Joe Brusha (Realm War), writer Lou Iovino (Red Agent), artist David Lorenzo Riveiro (Grimm Fairy Tales), and colorist Grostieta (Red Agent), with letters by Ghost Glyph Studios (Grimm Fairy Tales). And will feature jaw-dropping covers by Jarreau Wimberly, David Lorenzo Riveiro, David Nakayama, Mike Mahle, and much more!

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Zenescope Entertainment was founded by Joe Brusha and Ralph Tedesco in 2005, and has quickly grown into one of the top comic book and graphic novel publishing companies in the world—best known for re-imagining public domain properties as horror, sci-fi, and action/adventure series. The popular Grimm Fairy Tales has spawned dozens of critically acclaimed “shared universe” series like Oz, Wonderland, Robyn Hood, and Neverland, to name a few; and their unique blend of genre mash-ups include best-selling titles such as Aliens Vs. Zombies, Coven, Inferno, and the upcoming Escape From Monster Island and Satan’s Hollow. The company continues to work with dozens of clients which include Discovery Channel, History Channel, CBS, Lionsgate TV, SYFY Channel, New Line Cinema, Titmouse Studios, and many others.

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