Had no idea Dark Horse was finally doing it, but there is now a hardcover collection of their Gremlins sequel comic, The Return of the Gremlins that they did back in 2008, two years before Epic Mickey was a thing.
When a young American named Gus inherits his late grandfather’s English estate, he hopes to sell the place and be on his way. But then, strange things start happening in the house. Gus’s suspicions are confirmed when he learns the house isn’t haunted—it’s infested with Gremlins! This beautiful hardcover collects Dark Horse’s Return of the Gremlins comics, as well as an archive of classic Gremlins comics and stories from the 1940s!
the day all the superheroes turned bad, a horrifying creature emerged
from a giant hole in the middle of the city. No one has dared look too
deeply into that abyss. Until now. What horrors lie at the other end,
and what is yet to come through? Our band of ordinary citizens find
themselves with answers too terrifying to comprehend as the sequel to
the Kickstarter mega-hit Leaving Megalopolis continues!
LIVING WITH THE DEAD A ZOMBIE BROMANCE TP
(W) Mike Richardson (A) Ben Stenbeck (CA) Richard Corben
in the big city has its problems: traffic, overpopulation, and crime,
not to mention the brain-hungry living dead. But for hard rockers Straw
and Whip, life among the flesh-eating populace is easy … until they
meet a gun-crazy vixen named Betty. Collects Living with the Dead #1-#3.
LONE WOLF 2100 #4 (OF 4)
(W) Eric Heisserer (A) Miguel Sepulveda (CA) Brian Kalin O'Connell
fate of the human race comes down to a final battle on the coast of
Japan! Daisy Ogami holds the key to a cure for a killer virus, but only
Itto, her android bodyguard, can protect her from those who would let
the plague continue!
MASSIVE NINTH WAVE #5
(W) Brian Wood (A) Garry Brown (CA) John Paul Leon
the Ninth Wave crew vote to undertake a side mission off the coast of a
war-ravaged country, they get more than they bargained for, and Callum
Israel ends up on the FBI’s Most Wanted list.
There aren’t many people who would label darkhorsecomics as a small publisher today, but it was once upon a time. Unlike Image, which debuted with instantly top selling books, it took a few years for Dark Horse to rise through the ranks and become one of the five biggest publishers in the comic industry. How did it get so successful, and could its strategy be copied by a new company today?
The story begins in 1980, when Mike Richardson used a credit card to open a comic shop called Pegasus Books in Bend, Oregon. He had an art degree and had worked as a commercial artist, but no real business experience. When he first opened Pegasus, everyone but his wife thought he was nuts. No doubt about it, the store did have a rough start – the first day’s sales were $8.37. Fortunately things improved quickly and, five years later, the store had multiple locations throughout Oregon and Washington. Through the course of everyday business Richardson befriended a large number of illustrators and writers. When they would talk shop, and it seemed like the issue of ownership came up every time. This was in the mid-eighties, before the black and white boom. With few exceptions, creators at that time had to make the hard decision of making a living in comics or owning and controlling their work. After hearing this complaint enough times, Richardson decided to do something about it. In the summer of 1985, he brought together some of his creator friends and announced he wanted to start publishing comics with them. Just like when he opened Pegasus, they were skeptical. A comic company based in Oregon? Unheard of. But when he offered them 100% of the profits from the first issue, they were a little more willing to take a chance.
Mike Richardson speaking on The Dissident (originally XXX), our graphic novel originally published by Dark Horse in the 90s. Mike recalls his early encounters with our work and the odyssey that brought The Dissident into the world.
We are currently Kickstarting a brand new interactive online release, which will see the entire book colored for the first time the way it was originally intended.
Back in the early days of Dark Horse, I created a list. On it were the names of the writers and artists I wanted to bring to the company: names that included the giants of the industry, as well as names representing the new talent I thought would be open to growing along with Dark Horse. I added to and subtracted from the list as time went by, but I would always refer to it before traveling to the assorted conventions we attended. One of the names on that list was Mike Mignola. Mind you, Mike was not a comics superstar in those days; in fact, I don’t even remember what caused me to put his name on the list. Maybe it was the Gotham by Gaslight book he did for DC, and it probably wasn’t Rocket Raccoon, which he did for Marvel, but who knows now? That was a long time ago. Whatever the case, I found his work irresistible, a personal approach to his art combined with an eye toward past masters, creating a unique style all his own. From the first time I saw his work, I knew I had to have him making comics with Dark Horse.
Over the years that followed, I’d track Mike down at each convention and propose that he quit working on other people’s properties and start creating his own. Mike would say such things as, “Why do you want me?” or “No one would be interested.” This exchange went on for some time until one day, at some now-forgotten comics convention, he walked up to me and said, “Okay, I’ve got a book for you, but you won’t want to publish it.” Well, there was no chance of that, but I asked what he had in mind. “It’s called Hellboy,” he said, “and I won’t blame you if you pass.” I immediately voiced my eagerness to become Hellboy’s publisher, and the rest, as they say, is history.
Now, twenty years later, dozens of Hellboy graphic novels, series, and one-shots combine with new creations such as B.P.R.D., Abe Sapien, Lobster Johnson, Witchfinder, and Sledgehammer to form a sort of Mignolaverse. Nor does it stop with comics. Two feature films, two animated films, two video games, multiple toy lines, and countless other products pay tribute to the talent and brilliant mind of the self-effacing creator behind it all. By agreeing to write this piece commenting on the twentieth anniversary of Mike’s horned hero and acknowledging all of his many successes, I get the opportunity to say something that can never be understated … thanks, Mike, for twenty years and all you’ve done for Dark Horse!