The Avengers are down to their last resort as they forge the ultimate plan to finally break free from Ultron’s ferocious iron grip. So what are you waiting for? Head on over to your local comic shop and reserve a copy of Age of Ultron #10 – TODAY!

Join the conversation on Twitter using #AgeOfUltron, and don’t forget to follow us at @Marvel [www.twitter.com/Marvel]!

AGE OF ULTRON #10 (APR130589)
Written by BRIAN MICHAEL BENDIS
Art by BRYAN HITCH, CARLOS PACHECO, BRANDON PETERSON, ALEX MALEEV, BUTCH GUICE, DAVID MARQUEZ & JOE QUESADA
Cover by BRANDON PETERSON
FOC – 5/20/13, ON-SALE – 6/19/13

APHRODITE IX #1

Matt Hawkins (THINK TANK) and Stjepan Sejic (RAVINE, ARTIFACTS) have teamed up to bring back the fan-favorite green-haired, amnesiac assassin. Aphrodite IX awakes to find she must navigate an unrecognizable Earth that is being contended over by warring factions of the cybernetically enhanced and genetically enhanced.

Aphrodite IX was originally created by David Wohl and David Finch in the best-selling graphic novel published in 1996, which is being offered again as part of the relaunch in a limited edition APHRODITE RELOADED hardcover edition. The hardcover, set to be in stores this summer, features updates to the script by series co-creator and writer David Wohl.

APHRODITE IX #1′s second printing (APR138007), APHRODITE IX #2 (APR130429) and APHRODITE IX: Reloaded (APR130445) are available now for pre-order.

Valiant is proud to announce that writer Jim Zub and artist Edwin Huang, the acclaimed creative team of Skullkickers, will make their Valiant debut this July with “Who Will Lead the H.A.R.D. Corps?” – an all-new short story starring the Valiant Universe’s greatest heroes – and villains – as they send up the search for the H.A.R.D. Corps’ next commanding officer!

X-O Manowar. Quantum and Woody. Archer & Armstrong. Shadowman. Bloodshot. What do these disparate champions from around the Valiant Universe have in common? They’re all on the H.A.R.D. Corps’ recruitment list! Now for the first time ever, Zub and Huang are bringing them together for a humorous one-shot tale of the Project Rising Spirit’s latest – and perhaps last – membership drive.

“[We] were able to come up with a series of these little, short vignettes of the interview process,” Zub told Comic Book Resources. “It’s fun stuff because we get to run through a nice selection and variety of Valiant characters, some of which are appropriate, some of which are wonderfully inappropriate, how they fail the interview process and how Bloodshot succeeds over his competition.”

Appearing as a back-up feature in each of Valiant’s July releases, Zub and Huang’s “Who Will Lead the H.A.R.D. Corps?” short will be available in Shadowman #8, Quantum and Woody #1, X-O Manowar #15, Harbinger Wars #4 (of 4), Archer & Armstrong #11, Harbinger #14 and Bloodshot #13.

But first – don’t miss the first appearance of the all-new, all-deadly H.A.R.D. Corps on June 12th in Harbinger Wars #3 (of 4) – the next epic milestone of Valiant’s first crossover event! Then jump on board the new monthly adventures of Valiant’s deadly strike force when Bloodshot joins the team this September in Bloodshot and H.A.R.D Corps #14 from co-writers Christos Gage & Joshua Dysart and red-hot artist Emanuela Lupacchino!

For more information on H.A.R.D. Corps and the rest of the Valiant Universe, visit Valiant on Facebook, on Twitter, and at ValiantUniverse.com.

Sequential Highway is happy to introduce you to Leo McGovern, manager of Crescent City Comics, located in New Orleans, Louisiana.

Peter Howard: Why comic books? What led you to being a comic book retailer?
Leo McGovern: Working in a comic shop became a dream of mine at 13, when I began patronizing my local comic shop—I knew being on the other side of the counter was what I wanted to do. Not long after I graduated high school in 1996 my local shop closed; luckily there was another one a minute away from the University of New Orleans. I was a commuter student there, studying English and other things badly, basically killing time while not at Crescent City Comics. In the ensuing years I went from customer to sometimes being behind the counter to working the booth at San Diego and Chicago to covering shifts and working Sundays, while still putzing around at school and getting some retail experience selling shoes at the mall. A few years after Katrina, the owner was ready to re-open and it seemed like a natural fit that I’d manage the store.

PH: How would you describe the type of environment you have created for your customers?
LM: We try to create an all-inclusive environment, if that makes sense. Our staff enjoys different types of comics, superheroes and other genres alike, which makes it easy to have a working knowledge of as many titles as possible. We like to say that if you’re looking for something to read, regardless of genre, we can find a book for you in our store. If you’re looking for the new issue of Avengers, whatever volume of Sandman you’re currently on, or the new Joe Sacco book, we’ll have it. We also love the declaration “I haven’t read comics…”, whether it’s “ever” or “in years,” because it’s an opportunity to showcase all the great work that’s available now—we get to explain the concept of Saga, or point out Locke & Key, or summarize the past ten years of Marvel continuity so someone can jump into Avengers vs. X-Men.

PH: What incentives do you offer your customers?
LM: We don’t have any incentive programs, but we’re known for our night-time events, usually with a live art and always with free beer.

PH: Would you point to something in particular that sets Crescent City Comics apart from other retail stores?
LM: The variety we offer. We also carry a wide selection of independent comics, ‘zines, small-press stuff and local comics and books, and we love going to conventions and bringing back books you can’t get anywhere else.

PH: What’s your customer demographic? Young, old, male, female, and so on?
LM: Yes. We’re used to bagging a parent’s buys separately from their kids’—we’re lucky that New Orleans is full of diversity, because it’s never a surprise to see anyone in the store.

PH: Does your shop support and/or promote independent comics and small press?
LM: Yes—we have an entire wall section that features both locally-produced comics and a large selection of independent comics and graphic novels that we’ve procured from distributors other than Diamond, or maybe picked up at an out-of-town convention. Boy’s Club is a favorite, and anything Lisa Hanawalt.

PH: Are your customers attracted to alternative comic books and graphic novels? Are they primarily fans of Marvel and DC?
LM: When we opened, almost four years ago, we decided that our primary focus was going to be our graphic novel section. We have customers who are only interested in graphic novels, and some who are only interested in single issues—there are only a few customers I can think of who are “all in” on either Marvel or DC or even relegate themselves just to superhero comics. Walking Dead and Saga move at the same rate as Batman.

PH: Do you sell equal numbers of comics and graphic novels or a greater volume of one category than the other?
LM: For a while graphic novels dominated our categories, but with DC’s New 52 series and Marvel’s Now! initiative, the two categories are constantly nipping at the other’s heels. There are so many other great new titles that sell well in single issues and collected editions, like Saga, Manhattan Projects and Hawkeye.

PH: Are any titles favoured among your staff?
LM: We could be here all day! Here are some of the books all of us at the store like to recommend: Scalped, Locke & Key, Saga, Hawkeye by Fraction and Aja, Daredevil by Mark Waid, Casanova, All New X-Men, anything by Stuart Immonen.

PH: What are your best sellers?
LM: As far as new comics, our top three hover around the same sales, Batman, Saga and The Walking Dead. Hawkeye is threatening to topple one of those. In graphic novels, The Walking Dead is always moving, and our best-sellers may depend on what our favorites are at the time—Locke & Key sales shot up when our staff all got on board and heartily recommended it.

PH: What is important for you to offer your customers?
LM: Variety and customer service. We’re happy to look up that release date for you, we like brainstorming gift ideas for people, we love to find you the book that you’ll enjoy enough to want to come back and get more comics to read.

PH: Does your business currently embrace digital comics? Do you see digital as a threat or a business opportunity?
LM: We don’t currently sell digital comics. We generally don’t order DC’s Combo Packs, and we wouldn’t necessarily carry Marvel’s if they offered separate editions, but Marvel includes their codes free of charge in every comic, so we currently don’t have a choice. The Marvel codes, when redeemed, do give us a small credit per download—we keep up with the numbers and the redemption rate is pretty small compared to the overall amount of Marvel comics sold.

Overall, we see digital as a breeding ground for print comic readers. We often get customers who downloaded a comic on their iPad but pop into the store looking for the collected edition or, for something like Injustice, anything they can get that’s related to what they already read. Some customers will take advantage of free first issues, but rather than buying the entire digital series will look for it on our shelves. With every Saga or Y: the Last Man sale we gleefully promote Brian K. Vaughn and Marcos Martin’s Private Eye, but I admit to disappointment over all the tallying and number crunching in my head, thinking about our orders of the first issue of this new BKV book, being for naught when I learned it was digital-only. I bought the first two issues and enjoyed them; I just wish we could carry it in our store!

PH: If you were magically granted the power, would you change anything about the comic book industry and retailing in general?
LM: If I had the power, I’d make it so every applicable publisher was autonomous from any parent company that owns them—calculating dividends never makes for better comics, and I feel like an admittedly idealistic creative structure of editors and creators putting out great comics works best free of corporate interference.

PH: Who are your top five favourite comic book creators of the past twenty years?
LM: Personally, Robert Kirkman (for Walking Dead and Invincible equally), Darwyn Cooke (for New Frontier, Parker), Jessica Abel (La Perdida was a revelation), Brian Bendis (I’ve enjoyed his Avengers and now his X-Men, but Jinx, Goldfish, Torso and Fortune & Glory will always be favorites—and Ultimate Spider-Man, and Alias), and Alison Bechdel (both Fun Home and Are You My Mother? were very influential and are classics).

PH: Do you have a favourite Canadian comic book creator?
LM: I’d have to say Seth—It’s a Good Life, if You Don’t Weaken is depressingly great.

PH: What writers, artists and publishers do you believe have made particularly strong contributions to the comic book industry?
LM: Looking at the industry today, in my opinion the publisher that’s made the biggest contribution is Image, by far. Marvel and DC will always be around, but Image took the creator-owned model to a new level. You could sit all day and not complete a list of notable publishers that’ve passed through their doors, from Jeff Smith and Bone to Terry Moore and Strangers in Paradise… It’s the model that’s allowed books like Saga to exist, and I can make an argument that even Image’s superhero deluge in the ’90s provided the perfect foil for Vertigo so that series like Transmetropolitan, 100 Bullets, Y: the Last Man, etc… appeared strikingly original to the Wednesday comic reader. If all Image did was contribute The Walking Dead to the industry, it would still rank at the top—it’s become such a multimedia presence and viewers-turned-readers fervently look for it. That’s the best tool a retailer could ask for, because it serves as a gateway to other stories.

PH: What types of products and titles are currently absent from the market that you would like to see a publisher producing for you to sell?
LM: Until recently I would’ve said “more epic creator-owned series that are given the time to develop followings and eventually create classic series of collected editions,” but over the past couple years we’ve seen the advent of Saga, Manhattan Projects, Locke & Key, the rise of Chew…I could keep going. I’ll greedily ask for more great series like these, but I’m happy with the thought that these titles will still be on our shelves in ten years.

PH: Is there something that you would like potential customers to know about Crescent City Comics that has not been covered in this interview?
LM: [  ]

It’s been a brutal few months for Peter and the Renegades, culminating in the harrowing events – and losses – of the Harbinger Wars. But now, the surviving members of the team have woken up to the Best. Day. Ever. As Lou Reed sang, it’s just a perfect day, problems left all alone. But for Peter Stanchek – a kid who deserves a good day – something seems off…like all is not what it seems…

In the aftermath of Valiant’s first crossover event, a new day is dawning for the Valiant’s outsider band of teenage heroes, but is their newfound happiness the first sign of a new golden age…or the first cloud in a gathering storm? Find out this August as Joshua Dysart and Barry Kitson deliver a brand new jumping-on point for the series that Bloody Disgusting calls “the best damn team book on store shelves” in Harbinger #15 – featuring covers by Barry Kitson, Trevor Hairsine, Khari Evans, and Rian Hughes!

For more information on Harbinger and the rest of the Valiant Universe, visit Valiant on Facebook, on Twitter, and at ValiantUniverse.com.

“Perfect Day” – Part One:
HARBINGER #15 
Written by JOSHUA DYSART
Art & Cover by BARRY KITSON
Pullbox Excluisve Cover by TREVOR HAIRSINE
Variant Cover by KHARI EVANS
Variant Cover by RIAN HUGHES
$3.99/T+/32 pgs.
ON SALE IN AUGUST!

“Perfect Day” – Part Two:
HARBINGER #16
Written by JOSHUA DYSART
Art & Cover by BARRY KITSON
Variant Cover by ZACHARY MONTOYA
$3.99/T+/32 pgs.
ON SALE IN SEPTEMBER!

The hardback, with its two editions, is the first ever collection of the extremely rare Eagle Comics editions from the 1980s, with Kevin O’Neill (League of Extraordinary Gentlemen) colouring and adapting his original artwork.

The standard ‘Deviant’ edition, without art prints, is now available for pre-order and will be available through book and comic stores in September. Both editions include the hard-to-find ‘Nemesis Poster Prog’ story The Tomb of Torquemada.

However, the ‘Termight’ edition is available ONLY through the 2000 AD online shop. Each copy will be individually numbered, carry a marker ribbon, have a different cover and dust jacket, and is strictly limited to only 200 copies, with many of those already reserved on pre-orders.

One of 2000 AD’s most successful and famous characters by two of its greatest creators - and black-and-white bestsellers for decades – this colour limited-edition collection of the original Nemesis stories is an absolute must for new and old fans alike.

AVAILABLE FOR PRE-ORDER NOW
FROM SHOP.2000ADONLINE.COM
STANDARD ‘DEVIANT EDITION’
Price: £30
ISBN: 978-1-78108-171-6
Published: 12th Sept 2013
Market: UK and Ireland
Available through:
Diamond, Simon & Schuster
200-COPY ‘TERMIGHT EDITION’
ONLY AVAILABLE THROUGH THE 2000 AD
ONLINE SHOP
Individually numbered with alternative
cover, marker ribbon, dust jacket and
two art prints signed by Pat Mills
and Kevin O’Neill
Price: £40

Carlyle’s son Michael has a hunch that his father’s death was anything but natural, but the only clue is a box full of photographs of women in various states of undress — and Mike can’t bring himself to stay sober long enough to make any sense of it.

For Fraction and Chaykin, SATELLITE SAM is a chance to tell a murder mystery while simultaneously divesting the 1950s of its mantle of moral purity.

“It’s a detective story, a history of television, and a record of addiction, sex, and depravity during a time when the antiseptic shine off Ozzie and Harriet obscure what was really happening in the world,” said writer Fraction. “And these are just a few of the many joys that come from telling a story about television while it was being invented as a mass medium in New York City.”

The creative team researched television’s early days in preparation for the series, getting a feel for the era and for the people who lived real lives while inventing an idealized — and fictionalized — image of families and relationships.

“We’d been talking about SATELLITE SAM for a while, but what really got it going was a long Winter’s day Matt and I spent wandering New York, feeling the city’s ghosts, its lost and found architecture, ending up at the Paley Center, where we watched kinescopes of long dead men and women, acting out children’s fantasies, while living complex lives off-camera,” said Chaykin. “To say that I’m both having the time of my life collaborating on this project, and getting my ass kicked in the process, is to grossly understate the case.”

SATELLITE SAM is an ongoing black-and-white series. Its first issue can be pre-ordered now from the May issue of Previews and will be in stores on July 3

With our heroes at the other end of the universe, who is left to protect Earth? Enter Thanos, the galaxy’s most ruthless threat and an unparalleled force of brutality who brings order to the chaos of life through murder. The greatest threat to the Mad Titan’s work—and perhaps the universe’s greatest hope—is something he created leaving no world safe. Earth’s last hope may lie in the hands of a man who can level cities with a single whisper – Black Bolt, king of the Inhumans. But can the fearsome leader of a race hated and feared by his world,  lead his people against Thanos? If they fall, so does the Earth—and the entire universe with it.

Every issue of Infinity includes a code for a free digital copy of that same comic on the Marvel Comics app for iOS and Android devices. Additionally, each issue of Infinity features special augmented reality content available exclusive through the Marvel AR app – including cover recaps, behind the scenes features and more that add value to your reading experience at no additional cost.

The Biggest Heroes.  The Biggest Threats. The Biggest Sacrifices. This is Marvel’s INFINITY.

Next, I sought to find out more about Ulysse’s comic output. The energy and joy that he infuses into each and every page he produces is infectious. And as you will discover, Ulysse is quite prolific. This is an artist to keep your eye on.

Ladies and Gentlemen, Ulysse Malassagne.

Will Scott: If you don’t mind, please tell our readers a little bit about yourself. Do you write and draw your own stories? And how did you come to be a BD artist? Are you obsessed with working in comics and art in general? Do you consume large amounts of coffee daily?
Ulysse Malassagne: Oh yes, I drink a lot of coffee. I don’t smoke. I needed an addiction, so I chose coffee. I grew up in a family of artists; my father is an actor and my mother a painter. They always encouraged me to find a profession that I love and, as far as I remember, drawing has always been my first passion. So the choice of becoming a BD artist was pretty natural. Later, when I discovered Japanese animation I decided I also wanted to make animated films.

Telling stories is definitely the reason I want to be an artist. Also, it kinda works like therapy for me. In my stories, I can draw my frustrations and my dreams. I can stop drawing for days, but there always comes a moment when I need to say something on paper.

WS: Kairos was released on April 25, 2013. Could you tell our readers a little about it? Is Kairos the first in a series of novels?
UM:  Kairos is a love story with dragons. It’s gonna be a trilogy. I didn’t want to make a complicate story; my first intention was just to draw epic actions scenes like the ones I saw in Japanese comics and movies. The storyline is very simple, but I’m gonna try to play with the expectations of the reader. I love basing a story on the idea of giving body and soul to something for the sake of passion, at the risk of losing one’s mind. My other book, Jade, is a little bit about the same theme.

WS: The animated trailer for Kairos is wonderful. The style of the animation very closely resembles your own ink line and colour work. Did you have a lot of influence in how the trailer was made? And how did the making of the trailer come about? How was the decision made that it would be a hand drawn 2D animation instead of the computer- generated animation that’s so popular today?
UM: The trailer is the first production of our Studio La Cachette that I created with three friends I met at animation school. We gathered together because we wanted to make our own projects. For us, 2D animation still has a lot to offer, and we feel very frustrated by the fact that big studios completely disregard it nowadays. We’re from a generation of artists that has a new set of references. We grew up not only with Disney, but also with Dragon Ball, Cowboy Bebop and Ghibli’s films. We’re trying to mix all those influences in our work. The trailer for Kairos was just the first step. We have other very exciting projects.

WS: Is there a digital component to your products or do you work only in pencil and pen and ink? Would you mind sharing with our readers how you go about creating a page of comic art?
UM: I only use the computer to colour my page. I would love to do colour by painting directly on it, but I’m not good enough, as yet. So I first make a light rough drawing, but not too detailed, to keep spontaneity in the inking. If the rough is too precise, the inking loses all the fun. After the ink, I scan my page and I colour it on Photoshop.

WS: Your next book is Jade, which —if I’m not mistaken—is scheduled for publication in June 2013. What’s it about?
UM: Jade is a deeper project. I wanted to write an old-school adventure, a little bit like Tintin, but I wanted to play with the very colonialist vision that often accompanied them. So the main character is not really a nice guy, he is a young Englishman from a rich colonial family, who comes to Tibet with a lot of prejudices, looking for his lost father. I also try to show, from a western point of view, the very complicated political situation of Tibet. I actually learned a lot doing the research.

WS: How do you divide your time between projects? Do you work on them serially or do you enjoy working on a variety of material at once?
UM: That’s a good question, especially pertinent right now, because I’m trying to rethink my way of working a bit. Basically I say “yes” to everything. Since I got out of school, I worked on a lot of projects—very different things. First I’ve been working on a few movies (Ernest et Célestine, for instance) and advertisements. After that, about a year ago, I made Jade and Kairos, almost at the same time, we created the studio La Cachette, and started to work on other projects. I also have been working on a live, full-length movie with a few friends, a Western we made in the mountains of our childhood. One year ago, we created the studio La Cachette, and started to work on Kairos, and other projects.

Also, I’m making sort of a journal for my blog, with short stories and reflections about my life. Now I realize I haven’t been on a vacation in a really long time. I’m thinking about accepting fewer propositions and focusing on things that I really care about, but that’s difficult because I care about everything.

WS: Your work has a heavy Japanese influence. Can you tell our readers a little about that aspect of your style? Are there some Manga artists that you particularly like or that you would name as having been particularly influential?
UM: A lot of my inspirations are from Asia. Not only from Japan, also from China or Korea. Discovering Japanese animation and mangas was a huge shock for me. The cool thing is I remember exactly the first time I saw a shot from a Japanese animated movie: I think it was in a documentary, or a TV Show, they showed a few seconds from a movie called Ninja Scroll. I was probably 9 or 10 years old and I remember thinking something like, “God, that’s amazing, it’s a cartoon, but that look so dark and adult. I love it!” Really, that was the first time I saw a cartoon that spoke to me as if I was a grown-up.

Anyway, a few years after, my dad took me to see Mononoke Hime, and I decided I wanted to make animated movies myself. Since then, I’ve been really curious about Asian cinema in general. From Japan first, directors like Takeshi Kitano or Takashi Miike inspired me like no one else; also from Korea with Bong Joon-ho or Kim Jee-woon, and from Hong-Kong, Johnnie To or Tsui Hark. They defined my style in animation but also in comics.

Actually, when I think about it I realize that I’m a lot more influenced by Asian movies than by Japanese comics. I didn’t read a lot of mangas. They are too long. I can begin the first book of a series and think: “Hey, that’s pretty cool” but when I see that there is one hundred other books to until the end of the story, I give up.

But I love short series. I’m a big fan of Shigeru Mizuki or Naoki Urasawa. I recently discovered an amazing series called Kamui-Den. That’s a very Shakespearian saga with samurais and ninjas, and also a wonderful analysis of Japanese feudal society.

WS: Have any American artists played a role in you development as an artist?
UM: The most important is probably Jeff Smith. Bone is probably my favorite comic book ever.
Beside him there are, of course, a lot of American artists that influenced me, especially— again—in cinema.

WS: What role does colour play in your work? Is it primarily for setting a mood, or does it serve some other functions as well?
UM: For a very long time I didn’t put colours on my drawings. I thought that it was useless, that my stories were clear enough, and I didn’t felt talented enough to try. When I came to animation school, of course, I had to give it a try, and I learned how to create colour atmospheres. Now I really enjoy colouring my drawing, but I still don’t feel obligated to do it.  And I couldn’t make a painting using only colour— I have to ink it first. If I had to keep just one stage of the work, it would be the inking.

WS: If you were teaching a course in sequential art how would you explain to a student what sequential art is?
UM: Wow, that’s a very difficult question, especially in English!

Let’s see… sequential art is a language. It’s a way of telling stories using sequences of images. But the magic of this language is that the meaning appears not only in the images but also in the empty spaces between every image.

But honestly, everyone who wants to know precisely what sequential art is just has to read the books of Scott McCloud—the bible for every cartoonist.

WS: Are there pursuits and activities outside of comics that particularly interest you? Are there any authors whose work you particularly enjoy reading? Are you a traveler? Are you a physical fitness enthusiast? Do you have an interest in music?
UM: I love so many contradictory things! That’s terrible, because sometimes I feel like a schizophrenic. I can spend days working on a computer, playing video games and watching movies, but I love spending time in nature with a knife and a hammock, counting stars and hiking in the mountains.

Actually I grew up in the countryside, and I’m really not a big fan of big cities.

I don’t travel as much as I want because, until now, I’ve been putting work first.

But I intend to change that.

Oh, I also like climbing, and I play a little bit of piano.

SW: Is the French comics market strong, healthy and lively? Do you have any concerns for its future? 
UM: The French comics market looks pretty healthy, but there are a few little problems that might become really serious in a few years if we ignore them. The biggest, I think, is overproduction. There are more than 4,000 new comics published every year.

At first glance it might look cool, because it means that  a lot of authors get a shot [at the market]. But it also means authors are paid less, and series can be stopped very quickly if they don’t sell really well. In France, authors are paid with a system of advances on the royalties. If sales are not good, this advance is the only thing that the author gets for his book.

Some editors sign contracts with new authors fresh out of school, and give them ridiculously meagre advances. Me, I can’t complain, I’ve been working with great editors for Kairos and Jade but, before those, the first contract offered to me was outrageous.

There are so many new titles every month that libraries can’t take all of them, and some stays in the cardboard boxes.

Maybe that’s the price to pay for so much diversity in our comics…

Now, digital comic books and crowdfunding campaigns are making the gap between authors and readers smaller and smaller. That might shake up the market; I don’t know, but it’s really interesting. I’m really not an expert, and I hate figures, but I believe editors and authors should, maybe, rethink their relationship.

Pichelli established her status as a sought-after artist illustrating 2011′s Ultimate Spider-Man, which introduced Miles Morales as Spider-Man, and has recently been announced as the artist on Marvel’s Guardians of the Galaxy. Pichelli’s cover for THE BOUNCE #2 is her first work for Image Comics.

THE BOUNCE is the second new series penned by Casey (BUTCHER BAKER THE RIGHTEOUS MAKER, GØDLAND) to launch in 2013. The first, SEX, has been received with critical praise and multiple printings of its first and second issues.

The variant cover can be ordered now with the Image Comics code MAR13837. THE BOUNCE #1 will be in stores on May 22, followed by THE BOUNCE #2 in June 26.

Casey’s Image Comics titles are among those produced under the Man of Action imprint, a creative studio that includes Steven T. Seagle (THE RE[A]D DIARY), Joe Kelly (I KILL GIANTS), and Duncan Rouleau (THE GREAT UNKNOWN.)