I do want to talk about Mad Cave Studios, but first, I have a few things to say about comics in general. It’s not a brag, but a statement, but I get a lot of comp copies of comics every week. Through my column here and the podcast, and by bringing on guests from fantastic publishers like Titan and Zenescope, I get far more comics than I can ever read or purchase in a given week.
Times are tough for a lot of fans, and even through ala carte places like Global Comix, where with a cheap entry point (Kudos to them for NOT raising prices every time they make a new deal or roll out new features!), Fans can read 1000s of comics. As we all know, there are so many publishers putting out so many high-quality comics. Not even the most die-hard fan can keep up.
But, fans, can still make a difference. Start looking around some of the many independent publishers and start sampling comics. Even go to Hoopla nd Global and read them, before buying. No fan wants to buy a comic and feel like they wasted their money. Find something you like—then, by all means, put it on your pull list the next time you go to your comic shop.
I am a big fan of Mad Cave Studios and have happily, blissfully, gotten into many of their titles, like Flash Gordon, Dick Tracy, and Speed Racer. Now, I don’t get EVERYTHING via a comps and like every fan—I do buy comics and other comic things!
So, let’s do some window shopping over at Mad Cave’s website. As a fan, you can purchase both physical and digital copies there, often on sale or at a fantastic price. Long ago, I switched to everything digital. Lots of reasons, but often the digital editions are much, much cheaper than the physical copy, which allows me to stock up on things—I’m talking to you, TwoMorrows!
I don’t know about you, but while I love my heroes, I also want some comics that are distinctively different. First up, Endless Night, which is like a big supernatural‑meets‑crime crossover punch, pulling together assassins, detectives, occult forces, and shadowy conspiracies into a fast‑moving, cinematic thriller. Another plus is that it is easy to jump into and fun to follow. The book’s momentum comes from the creative team of writer Mark London, artist Tom Derenick, colorist Juancho Velez, and letterer Simon Bowland, who blend noir grit with supernatural spectacle in a way that feels both pulpy and ambitious.
Gatchaman brings up something different for me because I remember the series and the comic it was based on—Battle of the Planets. Mad Cave does a modern, high‑energy revival of the classic anime, delivering sleek sci‑fi action, mecha threats, and the Science Ninja Team pushed into new, high‑stakes missions that honor the original while expanding its world. The series stays fun because it balances nostalgia with fresh storytelling, powered by the creative team of writers Cullen Bunn (issues #0–10) and Sam Humphries (from #11 on), artists Chris Batista and Pasquale Qualano, colorists Carlos Lopez and Rebecca Nalty, and letterer Buddy Beaudoin, who bring a crisp, dynamic look to every battle.
One more comic to window shop: Pop Kill. This is a slick, high‑octane espionage caper where two rival soda empires—run by feuding ex‑conjoined‑twin billionaires—unleash assassins, spies, and corporate sabotage in a story that’s equal parts grindhouse chaos and sharp satire. It’s a blast because it leans into the absurdity with style, and the creative team of writers Jimmy Palmiotti & Dave Johnson, artist Juan Santacruz, colorist Brian Reber, and letterer Sean Konot gives the book a bold, kinetic energy that makes every twist feel larger than life.
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