List of posts

Ah, Halloween. That hallowed time of the year when the leaves begin to turn (at least outside of Los Angeles), pumpkins are carved, apples are dunked, cornfields are mazed, and TV features endless horror movie marathons. As Humanoids’ first Halloween-themed offering, what makes Halloween Tales so unique is that each of the three stories use Halloween as a jumping off point, with less a focus on the commercialized holiday itself than using it as a metaphor for coming of age and change in the lives of its young characters. 

It holds personal appeal for me as Halloween was my favorite holiday growing up, even more so than Christmas, which as a kid is a pretty big deal. But then as a little girl I was always more of a Wednesday Addams than a Shirley Temple. Something about having a special night each year exclusively allotted to the wicked and scary and transgressive was so delicious – and not just because of the annual tradition of stuffing yourself silly with sweets, candy corn, caramel apples and assorted teeth-rotting goodies.  

My health nut of an overprotective father insisted I never eat anything without an unopened manufactured wrapper, lest a razor blade be lurking inside some homemade treat. He also insisted that I trade my hard-earned candy haul from hours of trick ‘r treating for sugar-free gum, which of course only meant I either stuffed my face with candy on the car ride home or hid half my stash away for future late-night snacking, despite my poor dad’s best efforts. But it wasn’t my sugar addiction that swayed me from Christmas favoritism.  

No, it was the opportunity to be anybody else for an entire night of delightfully spooky shenanigans. Or at least to dress up as someone else for a few hours, the appeal of which is well-known by children and cosplayers the world over. Whoever you wanted to be, be it a famous real person or fictional character, a clown, a witch, a vampire, a samurai, a pumpkin… or every single Disney princess in existence for twelve years running (or maybe that was just me). Not only is it fun for any kid to pick out and sleeplessly plan their costume down to the last detail of hot-glue-gunned pompoms and sticky glitter face paint, but there is truly a magic about a holiday devoted to play-acting, dress-up and all things that go bump in the night.  

I grew up in a community of strictly Catholic homeschooled kids, some of the parents of whom thought Halloween was a sinful, Satanic holiday celebrating witchcraft and diabolical doings under the guise of innocent fun, so they weren’t allowed to dress up and go trick ‘r treating like the rest. Instead, they attended “All Saints’ Day” parties at the local parish church, dressed up not as ghosts or zombies but saints and martyrs, girls dressed as nuns and boys as monks or priests. Few were creative enough to depict the gruesome ways in which most martyrs met their end, in the jaws of lions or with their eyes plucked out. It was a pretty yawn-inducing event, with not much to gorge ourselves on but a divine Tres Leches cake made by a parish mother from Panama.  

As it was for me and so many other children throughout the generations, Halloween Tales reflects not just an annual tradition of make-believe and masquerade, a carnivalesque one-night escape from everyday life, but the opportunity to face our fears and explore the dark side in a rite of passage ushering us through the shadows of childhood and adolescence. 

Halloween Tales is available now with an MSRP of $24.95/£20.99

 The below post was part of our April Fools Day 2017 campaign.  Unfortunately there is no Batman/Metabaron team-up in the works and was purely for fun.  The art was a labor of love by THE METABARON artist, Valentin Secher.

International publisher Humanoids announces a new graphic novel series that will forever change the superhero landscape.

Los Angeles, California. April 1, 2017.

International graphic novel publisher Humanoids announced today the official launch of a brand new 4-issue comic book series: "The Ultimate Encounter," by multi-hyphenatecreator Alejandro Jodorowsky (story) and French rising star Valentin Secher (art). Production of the first issue, subtitled "Revenge Of The Fools," has been slated for a mid-2018 release worldwide.

Humanoids has tended to stay away from the superhero genre, but as the right elements fell into place, was thrilled at the opportunity of launching a crossover series with one of its most famous characters, The Metabaron, the Universe's Deadliest Warrior, and the iconic Batman, the World's Greatest Detective.

"The Metabaron is the ultimate warrior; strong, undefeatable, yet still very much human. That there can be only one is his tragic legacy. Pairing him with Batman, an equally complex character, was the natural choice, as he is the only superhero with no actual supernatural powers. Together, the duo are the best of both universes." said the publisher.

L.A. based graphic novel company HUMANOIDS has today revealed the new logo of its most iconic brand, METAL.

The brand was created in 1974, along with the legendary comic book magazine METAL HURLANT (French for "Screaming Metal"), founded by creators Moebius, Druillet and Dionnet, and that later inspired the creation of numerous foreign versions, including Heavy Metal magazine in the U.S.

Designed by Humanoids' Senior Art Director, Jerry Frissen, the new logo will be used in connection with new projects that will be announced later in the year, in both the publishing and entertainment fields.

From Fabrice Giger, Humanoids' CEO, who has steered the company for much of its history: "Since the 70s, METAL has been part of worldwide pop culture. It has always been a symbol of the strong ties that exists between the comic book world and the movie industry. BLADE RUNNER and MAD MAX's creators, to name only a few, shared the same creative and innovative spirit. A spirit that has never faltered across Humanoids' many ventures, and that is now being revitalized in the form of this new logo and movement!"

Disclaimer: This article previously appeared in 2013 on Facebook.

Q&A with Clockwerx

Getting to know the men behind the machines

With CLOCKWERX's immienant arrival next month, we decided to check in with the brains behind the book, Jason Henderson and Tony Salvaggio. These two have been friends and writing partners for over a decade. We sat down with them recently to pick their brains about their books, writing, advice, and several other topics.

Q: How did you get your start in writing?

Tony: I had done some writing here and there (mostly design docs and some short stories), and then I met Jason at Maxis South (before the Sims came and got bought out by EA, we were a little outfit making non-Sim City games). We hit it off and decided to try to write something together. We ended up writing several pitches and the Clockwerx script as a screenplay and it took off from there. Doing Clockwerx and subsequently Psy-Comm led to my “Calling Manga Island" column for Comicbookresources and has kept me writing and pitching to this date.

Jason: I started out writing short stories when I was in middle school and sending them in, because I wanted to see my name in print. And I absolutely would submit anything—I was doing movie reviews, columns, whatever I could get in front of readers. But the first thing I actually sold was a fantasy novel, THE IRON THANE, in college.

Q: Were you interested in comic books as kids?

Tony: Definitely! I started out with kids comics, went straight to House of Mystery and the like, then Marvel with some DC books here and there. When I discovered manga in the mid 80s, I started getting even more inspired to write comics, but I didn't know if I would be able to break in to the field. I have to admit that I read much more manga lately, but I try to keep up with lots of indie stuff as well. There are so many great comics out there; it really hurts my wallet trying to keep up with everything.

Jason: Absolutely. I was a huge comics fan, and desperately wanted to write comics, though I ended up writing books and games long before I was able to break into comics! Comics is harder.

I'm still a huge comics fan and have passed it to my two girls (11 and 7) who are really into Archie and classic DC.

Colored flats and final page

Q: What advice would you give to aspiring writers/artists trying to get into the field of comics & graphic novels?

Tony: Perseverance! That and hone your craft constantly. Write what you enjoy and be mindful of how your work compares to other books you enjoy. There is a thin line between being too self-critical and knowing when something you are doing isn't measuring up, but you have to find that and keep it in mind at all time. As a writer, you have to write, write, and re-write constantly (I need to keep this in mind as well, since I am a horrible procrastinator). On the perseverance side, you definitely need to keep putting your work out there and have a thick skin about it. For example, Psy-Comm (which we wrote for Tokyopop) wasn't right for Humanoids, but we pitched it elsewhere and got it published. Also, be mindful of what tutorials, forums, Facebook pages, and self publishing avenues are out there. It's a lot different these days and there are tons of resources if you are just willing to look around and get into the comics community. I've done whole panels on just this topic, but that's my sort of short answer for now.

Jason: Create your own independent work to get the eye of the Internet and the editors. Create something and produce it, even if it's online—creating samples that editors can read. And even saying that, heck if I know. I have a career that starts and restarts constantly!

Q: What other works would people be able to check out of yours?

Tony: Psy-Comm 1&2 is available through Amazon, graphicly, iTunes, Kindle and most other digital distributors. Physical copies of Psy-Comm 3 are available through RightStuf via print on demand. Also, you can read my first printed prose story in the charity e-book Fables for Japan volume 3. That was the first thing I've had in print that wasn't collaborative which was both daunting and rewarding.

Jason: First off, Tony and I host a weekly podcast on horror movies that is a lot of fun called THE CASTLE DRACULA HORROR MOVIE PODCAST. It is a lot of fun and people should check it out on iTunes! As for my writing—my ALEX VAN HELSING novel series is reasonably popular; it's about a teenage superspy who hunts vampire terrorists. So give it a read and let me know what you think!

Q: What is the writing process like for you?

Tony: For me, lots of writing and re-writing, second guessing and some procrastination if I am writing just for myself. When I'm writing for real, it is a pedal to the metal race to get to the deadline, tons of coffee and over a hundred gigs of iTunes shuffle cranked to 11. I'll often write to movies in the background as well. For some reason, the one that I write to the most is the theatrical version of Payback (Mel Gibson). Not sure why that is the one, but it works. Gundam anime, Big Trouble in Little China, and The Thing (also Kurt Russell!) are also in rotation in lieu of musi

Jason: I have as many processes as I have ties, and I have a LOT of ties. I do novels with an outline and short stories by the seat of my pants. But comics are unique beast. Comic books (even long graphic novels like Clockwerx) you have to plan ahead, really carefully. So when I'm writing a comic I usually:

Q: When coming up with Clockwerx, did you collaborate heavily or did one of you write some and the other would go over it?

Tony: Clockwerx was highly collaborative. When we started the screenplay version we would meet up late at night at a coffee shop or early in the morning before work for breakfast tacos and hammer out pages and ideas then write during lunch of in between meet ups. We would trade dialog and character ideas and then divvy out the scenes, re-convene and edit each other's work. I think I handled a fair amount of the action sequences because I think about how those are laid out from an animation standpoint and so it comes pretty naturally. For those I would often even draw out diagrams for the scenes in a play-by play manner so that we were both on the same page. The good thing is that I've asked our editors if they are able to tell which scenes were written by whom, and they have a hard time picking that out. I consider that a pretty nice accomplishment. It helps that Jason and I are really good friends and are able to work on each other's sections without ego getting in the way.

Jason: This story came from a Tony Salvaggio springboard. Tony and I were having coffee in Austin and he said, “I'd like to do a script about Sherlock Holmes piloting a giant mech." And when you think about it, that's pretty close to what we wound up with, a story about a Victorian private detective joining a mech team. We worked together a lot and divided the writing, originally writing the script as a feature-length script.

Chart showing the scale of Clocks to people

Q: Do the two of you still write together and if so, how has that process evolved over the years with the advent of technology and your overall experiences together?

Tony: Jason and I haven't written together in a while but we would definitely do that as soon as a project becomes available. We still bounce our ideas off of each other for pitches and other projects all the time. Our process is pretty much the same, but it is nice to be able to share things in the cloud. We still do email collaboration as well. We just pass a file that has the name of the project, the version and our initials, usually with “track changes" in Word or whatever we are using. Before we flatten our final edits there's often a file like Project_02_TS, Project_03_JH and that still works pretty well.

Jason: We've done several comics together and use different methods. For instance in Psy-Comm, we traded chapters—one of us would write the first draft of chapter 1, the other would take Chapter 2, with the other writer doing the second version. And sometimes we'll trade off a whole book—one writer doing the first draft of a whole book, with the other writer taking the second draft. And that's a big deal because lots can change or be fixed in the second draft.

Q: What influenced the idea of Clockwerx?

Tony: I've been a Steampunk fan for a while, and I wanted to write in the genre. When we started the screenplay in 1999, there was really no big Steampunk movement, no Steamboy, no League of Extraordinary Gentlemen, etc. We just had a love for this mixture of old and new inspired a bit by the original Wild Wild West and stuff like that. The original idea was what if Sherlock Holmes was a mech pilot. However that morphed to a plot involving the early Nazi movement (pre-WWII) and eventually changed to a mech team with a protagonist from Texas. I'm kind of glad it switched though, since not long after we were writing it, the anime Big O came out and it's pretty much Bruce Wayne driving a mech (which is pretty cool!). We already get comments about how we're derivative of other steampunk stuff that has come out since we finished Clockwerx in 2001, so it probably would have been worse. Plus I really dig our team of mech pilots and their opposite numbers in the Golden Shell.

Jason: Sherlock Holmes, Sakura Wars, Gatchaman, Time After Time, the list goes on…

Q: How did you first envision the Clocks?

Tony: Originally they were a cross between all the things I dug about the mechs in Armored Trooper Votoms combined with the submarine THE TURTLE. You can get a taste for how I conceived them in the beginning at my super out of date animation site

They were all different colors (well the enemy mechs were) and each had special weapons (flamethrowers, exploding caltrops, a hand cranked Gatling gun, a mace that shot out on a chain and had to be reeled back in, etc.) They also communicated through what we called “line drive" which was an advanced tin can phone kind of thing where the Clocks would shoot out a conical device with a round end that would magnetically socket to the other mech, allowing them to speak to one another. However, they had to keep that line together to do so. In my head, these mechs running in tandem and formulating a battle plan, then breaking off to execute as a team seemed kind of cool.

The mechs in the book are still way cool though. Jean-Baptiste did an awesome job updating them and bringing them to life. I really dig the final product!

Early concepts for "CLOCKS"

Q: What was it like working with an artist in Europe?

Tony: Working with Jean-Baptiste was awesome. Occasionally there were language barrier breakdowns, but his English is tons better than my French, so I can't complain. He's an extremely talented artist and he added lots of subtle touches to the characters. His pencils are pretty amazing, and every time we would get a new art drop, I couldn't believe that this was the book I had written. Just flat out amazing stuff. I felt like a 2 year old drawing with crayons whenever I had to send him a sketch about how a Clock mechanism worked or other note like that.

The cool thing is we also became long distance friends during the course of the book, exchanging emails and ideas outside of the book itself. We don't talk as much lately, but I'd still like to do this idea we had of a road trip across the US, adventuring while writing while he draws where we went. I don't know if Jean-Baptiste would still want to do that, but I think it would be rad.

Jason: I have worked with lots of artists and Europe and generally it's the same as working with an artist in New York—it's a world of email attachments.

Q: Any interesting stories from your time developing Clockwerx?

Tony: It's been quite a while, but I do remember a few things. We used to write at Austin Java Company until they would shut down in the wee hours. Sometimes we would meet back up at a Taco Cabana that was midway between where Jason was working and the video game company I was working for at the time and hammer out script details, take notes and trade sections to edit. It was a labor of love for sure.

I also remember that Jason fought for a long time to keep this kind of Oliver Twist/Short Round character in the screenplay version. I was hesitant but he grew on me. When we had a reading of the script with our wives (great foils for our geekdom), he was universally panned and excised quickly. Let me tell you, that was a rough set of re-writes, but it made it so much better. We were lucky that we got to really develop the script even more with Humanoids and our first editor Paul Benjamin. It's MUCH tighter than our original screenplay version. There are a couple of action sequences I do wish we could have kept, but I think that's the kind of thing that most creatives think about. I dig how the book turned out overall and this version is the definitive one for Jason and me.

Penciled version next to the final version.

Q: How do you feel about the Steampunk genre? Has it changed from when you originally developed the idea of Clockwerx?

Tony: I really dig the steampunk genre, since I was a kid watching movie adaptations of 20,000 Leagues, Journey to the Center of the Earth, and The Land that Time Forgot (one of my all time favorites!). Of course it wasn't called Steampunk then, but that was the kernel of what we have now. There's been a lot of Steampunk literature and even stuff like Origin's Ultima: Martian Dreams and various pen and paper RPGs that paved the way for us and Clockwerx. In 1999, there really wasn't the groundswell of fiction/crafts/costumes that there is now. I think the last Steampunk think I had read was The Difference Engine, and in anime there was Sakura Wars. I remember when I saw that show, I didn't know if we were going to seem too derivative. However, they went in a way different direction, so it was ok. Since then, there really has been an explosion of creativity and plenty of cool Steampunk fiction and culture. It's painful sometimes that it took so long to get the book out, because (judging by some reviews in France) we're seen as kind of also-ran by some people. That's just one of those things that sometimes happens (in Hollywood it's pretty frequent) and you roll with it. Although I don't really wear any Steampunk costuming, I really dig all the creative cool stuff that people do nowadays. I hope that the community digs our book as much as we liked writing and nurturing it over the years.

Q: Any new projects on the horizon?

Tony: Jason has been steadily writing novels, video games scripts, and comics but I have been mainly working on stuff with my band Deserts of Mars. I do have a bunch of comics that I want to pitch but have had trouble finding artists for. Lots of stuff near and dear to my heart: horror with comedic pop culture stuff, martial arts and apocalyptic themes, and a few books centered around metal/rock with sci-fi and horror themes. I've gotten close to landing a couple of them, but nothing has finalized so far.

Of course if Clockwerx or Psy-Comm pick up, I would love to go back to those worlds and write some more stories.

Jason: Yes—this summer I have a game coming out, Activision's TEENAGE MUTANT NINJA TURTLES: OUT OF THE SHADOWS, for which I wrote the screenplay. Meanwhile I'm working on a comic book miniseries for IDW that will be announced later, and a return to the SWORD OF DRACULA/ALEX VAN HELSING universe in comics with Greg Scott.

Q: Could you envision Clockwerx as a movie or possibly a TV show?

Tony: Since we wrote it as a screenplay first, that would be awesome. I would love to see at least a Clockwerx miniseries. I also have a lot of ideas for adapting Clockwerx into a couple of different video game genres (working the video game industry is my day job) if given the chance.

Jason: Absolutely. We really wanted it to feel episodic—meet the hero, have the team come together, then have their adventures begin. We really wanted this to be like a regular hero team book!

Q: How did growing up in Texas influence you as writers?

Tony: Hmm, I'm not sure if it was Texas directly that influenced me although spending my first few years in the hill country and a formative couple of years in Kerrville where I spent tons of time in their awesome library and going to the cool downtown movie theater there certainly influenced me. I spent my summers in Texas with my grandparents and my dad and didn't have many friends my age during that time, so I read a lot and watched tons of movies thanks to them taking me to the theater a lot. That was definitely the foundation of me stretching my imagination and getting into making up stories and creating worlds in my head. So, for that I have to thank my grandparents, my dad, my aunt Vita who was a teacher and always gave me books (actually all my aunts and uncles were cool that way), as well as the time I spent reading and dreaming in Hearne, Bryan, Houston, Dallas, and Matagorda.


Q: Favorite writer? Favorite Artist?

Tony: I don't think I can definitely answer either of those. I would like to thank all the comic book writers from the 70 and 80s and all of the numerous novels over the decades that lead to the ground work for this book. I can't even begin to name the countless authors that have influenced me, but I appreciate them all! As far as artists, I'm pretty partial to the ones I have worked with on Clockwerx and Psy-Comm (Jean Baptiste, Shane Granger, and Ramanda Kamarga) but that isn't really fair is it? There are many artists that I really really dig, but I'll name a few (and my apologies to the dozens of other I might miss) of Michael Golden, Bill Sienkiewicz, Bernie Wrightson, Tim Eldred/Ben Dunn/Adam Warren (for showing me Americans can do manga styled comics!) Katsuhiro Otomo, Shotaro Ishinomori, Hayao Miyazaki, Kow Kokoyama, Leiji Matsumoto, and one of my all time favorites Yoshikazu Yasuhiko (his art books and the latest Gundam: The Origin hardcovers [Vertical is ruling them!] are amazing. Plus he's had a hand in a large swath of the anime and manga I enjoy).

Jason: Grant Morrison and Greg Scott, who should work together!

Rough flats and final version

Q: On process and tricks of the trade.

Jason: We worked a lot in Excel on Clockwerx-- really! Because we knew we could have a big page, lots of panels, say 8 or 9 panels on the page. So we would create a spreadsheet with a set number of panels on every page and a set number of lines of dialogue-- these represented the maximum we could put on a page. And then we'd fill it in. It was cool, too, because by rocketing down the rows we could see how the story was working, how long scenes were taking. I recommend using Excel if you have to have a very strict script size.

Q: Who wrote what?

Jason: If you want to know who wrote what, Tony and I basically wrote the first 3/4 of the book, with writer Izu writing the last quarter from our notes and a much longer version. And then of course when it all got translated into English, Tony and I did an edit of the whole script again.

Q: What else do you and Tony have in store?

Jason: There are a few projects that would benefit from us working together, because when we work together we each bring our skills. Tony is mister logistics on big and small scenes alike, he can really figure out how something is going to work and how action can be choreographed. I bring a sense of pace, if anything-- what scenes need to go where. One project we want to do together is a big, scary horror that is an homage to Euro Horror like Jess Franco from Spain and Jean Rollin of France. I really want to do that book someday.

Word Association

Clockwerx

TS: Steampunk, Collaboration, Friendship, Long Strange Trip

JH: The X-Men with Victorian Robots instead of super-heroes

Humanoids

TS: Thanks, Breakthrough, Teamwork, Awesome Artists

JH: Home of Quality

Texas

TS: Home

JH: “The sun is ris', the sun is set, and we is still in Texas yet."

Steampunk

TS: Creativity, Wonder, Adventure

JH: The kingdom from David Bowie's dreams

London

TS: Mystery, Adventure, History

JH: Home of the Tower.

A "CLOCK" closer to final version

The first truly international graphic novel, featuring 13 creators from 3 continents and simultaneously published in 4 countries.

This highly original anthology allows some of the world's greatest sequential artists to explore the key moment when a clear-cut split occurs, a mutation, a personal revolt or a large-scale revolution that tips us from one world into another, from one life to an entirely new one: The Tipping Point.

From slice-of-life tales and science-fiction adventures, to amusing asides and fantastical fables, witness these major changes and evolution through the eyes of 13 visionaries from the worlds of manga, bande dessinée, and comics. Each of them has written and drawn an original story, and taken a personal approach to the theme of "the tipping point." The anthology is by turns, humorous, moving, perplexing, horrifying, pensive, uplifting, and hopeful.

The contributors are some of the most cutting-edge and influential creators from the USA, UK, Japan, and France:

Boulet - Eddie Campbell - John Cassaday
Bob Fingerman - Atsushi Kaneko - Keiichi Koike
Emmanuel Lepage - Taiyô Matsumoto - Frederik Peeters
Paul Pope - Katsuya Terada - Naoki Urasawa
Bastien Vivès

The book also features a brand new cover by legendary European artist, Enki Bilal (The Nikopol Trilogy).

Humanoids' publisher, Fabrice Giger notes, "Humanoids, since its very inception 40 years ago, has always had a leitmotif of building bridges between American comic books, Japanese manga, and European bande dessinée to help them inspire each other—or better yet, to cross-pollinate. The Tipping Point does just that, and features some of the medium's best creators working today. It's a very unique and special book that will land—like a shimmering UFO invasion—simultaneously in different languages around the planet, unifying global fans of the sequential art form."

The Tipping Point will be released in two separate editions:

A Hardcover Trade Edition (8.3in x 11in/275mm x 210mm, 132pp), MSRP/RRP $29.95/£20.99.

An Ultra-Deluxe Edition (8.3in x 11in/275mm x 210mm, 132pp), MSRP/RRP $499/£349. This edition comes in a slipcase, is printed on luxurious 150gsm paper, includes 14 individually signed bookplates, and is limited and numbered to just 100 copies. A unique opportunity to own a ground-breaking piece of comics art.

Both English-language editions will be released in the US and the UK in January 2016. French and Japanese editions to be released in their respective territories.

Humanoids Inc. Joins Ingram Publisher Services

NASHVILLE, Tenn. – Ingram Publisher Services Inc., an Ingram Content Group company, today announced the addition of Humanoids to its publisher client list.

"Ingram Publisher Services welcomes Humanoids to Ingram," said Mark Ouimet, vice president and general manager, Ingram Publisher Services. "Humanoids will bring a new element to the publishing space."

Humanoids has signed with Ingram for exclusive sales and distribution to the book trade. For the past 17 years, Humanoids' books have been available exclusively through the comics channel direct market, where their presence has continually increased. Working with Ingram signals their first trade distribution.

"Humanoids landing in bookstores is a long-awaited move," said Fabrice Giger, Humanoids' publisher and CEO. "I believe that Ingram and the Ingram Publisher Services team are the perfect collaborators to bring worldwide best sellers such as The Incal to the book market, and meet the growing demand for quality graphic novels in the US."

Humanoids is a leading international graphic novel publisher with branches in the US, Europe and Japan, whose catalog features major works from acclaimed authors such as Alexandro Jodorowsky and Mœbius. Humanoids' backlist includes hundreds of titles by creators from around the world, including top American comics artists and writers such as John Cassaday and Kurt Busiek.

In addition to its publishing activities, Humanoids has recently signed several film deals with international and Hollywood-based production companies.

Next Wednesday sees the release of The Last Ones. Enjoy some behind the scenes looks at some of the art behind the book as well as early cover concepts from Manuel Garcia.

The Last Ones comes to town July 29, 2015.

Fantasy is undoubtedly one of the most popular genres in the entire world. Practically every culture has some form of fantastical literature littered throughout. Fantasy is deeply rooted in our imaginations, allowing us to dream of impossible things set in far away lands, featuring magic and the supernatural. Fantasy frees us to explore the worlds inside us. After working a long day in the office, who wouldn't want to fly through the mountains on the back of a giant dragon while casting spells?

Graphic novels allow us to experience Fantasy in a unique way that blends our imaginations with the appreciation of art. Being able to actually see someone else's internal visualisations vividly brought to life offers a glimpse into the creator's mind. Sometimes it isn't even the artist's mind we are glimpsing, but the author's. Comic artists are able to skillfully weave the visual worlds of their own imagination together narrative scripts they are given, and we at Humanoids have always prided ourselves on bringing you some of the most fantastic graphic novels possible. This year we've already released the great Fantasy-Adventure title Millennium, which blends fantasy, adventure, crime, and other genres into a story that leaves you yearning for more.

All these titles and more can be ordered from your local comic shop, as well as from our own online store.