FREE COMIC BOOK DAY BOOKLET if eu S15) FREE COMIC BOOKWeEeieCtOmMaeEes 120) WIZARD: THE COMICS MAGAZINE Wizard's first magazine debuted in July 1991— the immediate response was tremendous and Wizard: The Magazine of Comics Entertainment and Pop Culture was launched. The publication has ‘grown dramatically since and reaches millions of ‘consumers each month, sold in 40 countries and translated into five languages. Wizard's the ultimate authority for both the casual and fanatical comic ‘book fan, as well as fans of what's hot in both television and feature films. Over the course of the last 15 years, Wizard magazine has accumulated hundreds and hundreds ‘of pages worth of art lessons from the top comic book creators in the business. We've collected these lessons into several “How to Draw” volumes, including “How to Draw: Beginner" (Part |), “Storytelling” (Part 2) and “Advanced Techniques" (Part 3). It's the first step on your way to becoming. a superstar penciler in the field of your dreams! So turn the pages and read through just a sample of what you can expect in our comprehensive, award- winning How to Draw” volumes! Wizard Magazine goes on sale the last Wednesday of the month at your local comic book store. To find a store near you, call 888-COMIC-BOOK and enter your zip code.ON ONE rs know nothing. Well, |hope we know some- muscle structure, or costume, or ‘thing, but for now let's say we know nothing — dynamics. That stuff can wait. It will, fe ear eee ors mao oa Eee ea Tie amor as | rare amr an RUGS Ser erro Taee | nercncs aetna Fe pape ieee eppen e considering how the body is put together and how it _ we're going to begin simple. And when ‘moves. At that moment, I really could care less about I say simple, | mean simple. BY JIM CALAFIORE ary Rey iy our LG ST a STICKINGWITHIT ‘Meet Mr. Stick Figure (Figure A). Too simple? This is what our bodies are, afterall, withthe flesh and muscles ripped off—just sticks holding everything ‘up. (Bloody sticks, bt sticks.) You can see that 've given Mr. S-F ahead (), and ‘oval shapes representing his torso (2) and hips (9). These are the three major parts of the body that can move independent of each other (atleast as far as the primary rotation points ofthe neck and waist will allow). True, if you rotate |Just my torso, the head goes along for the ride just ike my arms, but my head ‘can turn a completely different direction at the same time. Your arms aren't ‘going anywhere without your torso. The same holds true forthe hips and logs. SPINDOCTOR When rotating any of the big three, remember that they can ‘only go so far. Other than with an extremely flexible character, like Spidey, the head can't rotate quite perpendicular to the torso. Ditto for the torso-to-hips relationship. Generally the average maximum rotation is about 80 dogroes from rest posi- P43 WIZARD FREE COMIC BOOK DAY SPECIALHEAVYROTATION ‘Tho noxt things to consider are rotation and hinge points. Stating the obvious for the record: Rotation points twist, hinge points bend. As I've mentioned, the primary rotation points forthe body ae the neck and waist; the secondary rotation points are the shoulders, wrists, hipjoints and ankles. Here are Mr Stick Figure’ arm and leg, Rotating both the shoulder and writ joint wil allow for max rotation of about 270 degrees. The legis abit more restricted, about 180 degrees. (}—_ OBS O-——O— ==} =O NOTE: With some effort, it would appear that you can rotate just your ‘elbow, but what is really happening is you're restricting the wrist joint and ‘rotating only the shoulder. —— ~~ at Yn JOINTDECISION ‘Tho hinge points are the easy ones, and obvious: neck, shoulders, elbows, wrists, waist, hip joints, knees and ankles. There are also many hinge points that make up Mr. Stick Figure’s hands and feet themselves, but ‘we're dealing with the overall figure here, not the minutiae. WIZARD ENTERTAINMENTRUBBERNECKING Note that the primary rotation points of the neck and but not all hinge points are rotation points. Left out in wait are also hinge points. The aimee true of tho so¢- the hing-only cold: elbows and knoes. (And the hand ‘ondary rotation points: shoulder, wrists, hip joints and itslf is composed of ony hinge points as well. But | ankles. Youll see all rotation points are hinge points, wasn't going to talk about the hand, was I?) Qe TWISTANDSHOUT Okay, but what's this simplistic anatomy lesson got to and twisting that makes Mr. Stick Figure more interest- do with drawing the figure? Well figures just standing Cm WIZARD FREE COMIC BOOK DAY SPECIALSTRANGESOLUTIONS ‘These are the initial points I consider when construct- ‘ng a figure: how its “sticks” lin up, ft together, inter- ‘act and expand or restrict movements. When it's ll put nonin, Same ol oe eee eet Here’ final product. Mr. Stick Figure can gta bit ate solid, three-dimensional ‘complicated—hey, we are complicated after all—but fl- low the rotation and twist lines to see how I positioned the ‘igure, and notice where I chose to put tension (not only ‘the twist of the waist, but in the let wrist). You can have ‘multiple points of tension in a figure, but you don’t want ‘0 overdo it, or your figure can start fo ook convulsed. BUT WAIT! How did Mr. Stick Figure jump all the way from bare bones to Dr. ‘trange-Figure? You'llhave study up some more on your own or pick up Wizard's “How to Draw” series to find that out. i) Jim Calafiore's fine craftsmanship has improved the pages of many comic books, including DC's Aquaman and Marvel's Exiles. WIZARD ENTERTAINMENTLESSONT WO FACIAL EXPRESSIONS 5 .2msucme ver since | got started in this biz, people have ways commented on my use of faces, ask Jing me who my influences were. That's Chuck Jones. If you're not hip to old Warner Bros. cartoons, he's one of the all-time great animation directors and creator of Wile E. Coyote and the Road Runner. Check out any scene where Wile E. sets a trap for his fleet-footed adversary ‘notice the smug look an his face. Noneed for dialogue. CREATINGLIFE arc SeeERENES ‘Then watch the trap go horribly wrong. For me, the hysterical part wasn’t ‘when the boulder crushed him, it ‘was the pathetic look on Wile E.'s face just seconds before, when he realized he was screwed. ‘Knowing ust what type of expres- sion to give your character is an important! skill, So grab your pencil and let's get emotional! a Reda Lig oT ‘once had an idea for a comic following the life of arock. Yeah, 1ean hhear you: "The story of arock? Who cares?!" Sure intellectually, we ‘might learn something about goology, but emotionally, you're right. ‘Who cares? There's nothing to relate to, and that's my point. KODAKMOMENT Okay, you're given a script where Hawkeye and Captain, ‘America are chatting with a couple of women. Hawkeye’s doing the talking. Let's say his dialogue's ‘something like this: “Hollo there, ladies. You're looking mighty fine. I'm Hawkeye of Avengers fame and this is my trusty litte side- kick, the Capster!” ‘The interesting expression here belongs to Captain ‘America. I's a snapshot in time. The exact moment he ‘hears his intro, Not before. Not after. Now, there are a lot of valid directions you could 0 with his look, like intense fury or surprise. | chose this moment, because it's the most interesting. It during an emotional transition botween boing happy insult ‘moment, as opposed to showing him purely insulted which could apply almost anywhere. (Especially with friends like Hawkeye.) Gg WIZARD FREE COMIC BOOK DAY SPECIAL‘A g00d way to work is fo think of yourself as a director, ‘and your charactors as actors. I's your job to make them perform, Personally, never think of comic characters as costumes with powers. To me, they're people. They each react to things differently and you don't need dialogue to ‘got that across. Let's use the X-Men gang as an example. Here's the story: Professor X heads into the den and fires up the ‘Nintendo, but won't work. I's broken! So he goes around asking who broke it. Each X-Man answers with the same ‘tour words" didnt break it” CHARACTERACTING ‘See ifyou can match the correct face to the thought: ‘A) I didnt do it, but m sure 'm gonna get blamed fori. B) I can't believe you're asking me that question, ©) Oh, darn I didn’t know it was broken, That sucks! 1D) How many times do Ihave to tell you, no didnt! ) Okay, id t. But 'm not going to admit it. Tm not gonna tell you who was thinking what. If you ‘can't figure it out, then | haven't done my job property. ‘Break off into individual discussion groups if you're hav- THETWO-FACETHEORY Let's take alook at what call my “two-face theory.” It's abit more exaggorated than the Captain America shot on ‘the first page, and i's something| ike using with deranged ‘characters to give them a quirky sort of expression. It's real easy. Take a shot of the happy Sabretooth ‘and paste it together witha shot of him furious. Check ‘out the results by placing your hand over one side of the ‘third illustration, then doit tothe other side. Get it? H's kinda fun. Now try it with other expressions to see what kind of combinations you can come up with. WIZARD ENTERTAINMENT‘the meaning of his smile. In the first illustration, Wolverine seems sincere, ‘almost charming. In the second, he looks giddy, even gooty. Not at all the Wolverine we're used to. But the third ‘one, that's the Wolverine we know and Jove. That's a smile that says "Tm gonna {all someone and enjoy itt’ the eyes ‘They're THEEYESHAVE!IT ‘hate drawing characters who have no pupils. (And no, out these shots of Wolverine with his mask on. You get | don’t mean students!) You lose a valuable tool with- a better sonse of what he's thinking when you actually out thom. Martial artists suggest looking in your see his eyes. Granted, not showing his eyes works to ‘opponents’ eyes to see when they'l attack. (Or maybe _Wolvie's advantage in battle, but you see what you're: ‘heard that in some Jackie Chan movie.) Anyway, check losing as a storyteller. EM WIZARD FREE COMIC BOOK DAY SPECIALLINESTRENGTH {Iwas taught that when drawing comics you need bold, ‘strong lines. And in alot of cases, that works just fine. But it doesn't have to be a universal rule. There are cer~ ‘tain moments where the characters aren't strong. They're human. Thoy fool a wide range of emotions. ‘Take Reed Richards. He's just been given some devastating news. The first illustration shows a typi- ‘cal comic-book reaction. Yes, it indicates shock, but WRINKLE | CREAM. PLEASE! ‘When drawing young especially women, you ‘watch out, Make sure not to go also make her look about 10 years older than she should be. So be careful it's a delicate balance. ‘Y'KNOW, I could go.on for pages upon pages showing you howto draw an angry face ora lustful face ora sad face, but that'snot the point | want tillustrate. Facial expressions aro ‘one ofthe storytelling tools you have to work with. They're not about penciling a goofy face or an interesting one; they're ‘you've gotta agree that the second reaction goes much ‘deeper. He's completely staggered and emotionally ‘vulnerable, On an action-movie star scale, the first ‘shot's on a Jean-Claude Van Damme level, whereas ‘the second one's moro on a Harrison Ford level. You know what | mean? So don't be afraid to use different ‘types of lines to add depth and serious emotion to your ‘character's face. about penciling an appropriate face. Get inside your charac ‘tors. Know how thay feel from panel to panel. Use a mirror if itholps. And if a picture's really worth a thousand words, ‘then the right facial expression’s worth a thousand balloons. Have fun, and I'l see ya in the funny books! WIZARD ENTERTAINMENThhope you've been practicing since our lat session. Don't ‘forget—your rate of improvement is in direct ratio to the amount of time you spend drawing. The more you draw, the ‘more you will improve, Is lke physical exercise Hf you do a litle every day the effectivenessis much more postive than if ‘you doit only one day every two wooks. And after two weeks, Its tke starting allover again. | ‘Don’tbe afraid to make mistakes. Making mistakes, rec- ‘fnizing those mistakes and correcting them isthe best way toleam and improve your drawing. ‘The suggestions that l make in these articles are based on the artwork of thou- ‘sands of aspiring cartoonists that I've critiqued. Many have gone on to become successful professional cartoonists, {graduates from the Joe Kubert School ‘of Cartoon and Graphic Art, Inc. and my series of correspondence courses. ag YOU SEE? Pde MOTT ON SALE Now! Hany ARTISTE WAVE THEIR On SYSTEM FOR Pleage PROPORTION. TRY Way VARY A urgue, Bur casualty Nos too wien. THe Sone mar Rouse ‘clit aw oaumee TE WiZARD FREE COMIC BOOK DAY SPECIAL[Notice how an oldman rises from a chair. Quite diferent from 10 ‘body How do thoir movements will toll you a lot about them, and you can incor- ‘or mtn sa ort ayer tars eran rete WIZARD ENTERTAINMENT‘The character you design should physically reflect the character? How should he look? Analyze your char- acter. Give him a history—a life. Your drawing should be a graphic description containing as much informa- "Tie aPpesmence GxceRTANT [y48 WIZARD FREE COMIC BOOK DAY SPECIALee ai eee told me that they find it may play the role of villain as effectively as es eneraly ore cet drawn, The _ aimale. She may be as powerful physically, but she WIZARD ENTERTAINMENT [EK]Ra memes WIZARD FREE COMIC BOOK DAY SPECIALrlos—was the way ‘conveying the necessary information needed to tell story. Get it? Story-telling. An artist's storytelling style IT’SABOUTTIME... One of the many storytelling tools a comic book artist has is the opportunity to pace a ‘to manipulate the way a page flows for his reader, This is unique to the comic book. ‘You don't need to rewind a tape or hit a reset sutton on a video game; all a reader has to is flick his eyes back to the beginning of ‘a scene to experience it all over again, Here, I've taken a simple action: a fella ‘ball fll on his head unexpectedly. I's a sim- ple scene to execute, but how it’s presented ‘can make that simple scene a bit more com- plex. The panel where the ball actually hits this poor schnook isthe crux of the scene. But ‘adding a couple of “beats” (like *heartbeats") ‘before and after panel three stretches out the ‘moment, adding a bit of humor (Figure A). A ‘much more abbreviated version (Figure B) {gets the same info across, it just takes less time to tell. can be as unique as a fingerprint. An some things to telling your stories... a Riana choice of how to p Bie Ct ST & LN NL WIZARD ENTERTAINMENTUU wizaRD FREE COMIC BOOK DAY SPECIAL SHOWWHAT? Every artist has his own way of intor- Preting a scene. Suppose we have a plot where the writer instructs the following: “Artist, give us a visual of our hero, the ‘Ow, grimly swinging out off a root over the city. Do this however you like—just || establish that he's in the city, i's night, and he's just swung off the roof.” ‘Now, some artists would take this ‘opportunity to use the page for a big, dramatic splash, as I've done here in the ‘example to the left. It gets across the writer asked for, all in ‘one big shot. But there are a lot of other ‘ways to tell this story.OUTOFSIGHT ‘But what if we don't show the impact? Here you ‘can soo our detective throwing his punch, but we ‘don't really see its effect beyond seeing the ‘thug’s hand and some stars as he gets his clock ‘leanod, This lets us fill in the info. For all we Inthe example below, we even apply alit- tle of the pacing exercise—stretchit ‘moment, while at the same time leaving the violence largely unseen. The two lugs come at each other—POW!—and the thug's flat on hhis back! Ol “Mike Hammer" there's got quite a punch! ing the KEEPUP THEPACE ‘Well, unfortunately, it looks fike ‘Ym out of space. As far as story- WIZARD ENTERTAINMENT [iLEVOLUTION OF A PAGE 2.329%. ae Se you've got a plot and a blank together on books like X-Men, WTA Tg Oo sper. How do you turn this into Ultimate X-Men and Uncanny X- Raat black-and-white artwork ready for ‘Men. As in many comics, the end tion? Tom Raney and ! will show you our respective product is the result of a group step-by-step processes of penciling and inking an | effort. Here's how our partis dono, ‘actual page from Thor #50, Besides Thor, we've worked | Take it away, Tom! a ia crest Ct Sou ‘Whon | get Dan Jurgens’ plot for Thor, | read it through, noting my general impressions of what's going on in the issue. | try to get a sense of pacing for ‘the whole book. But we're only dealing with a single page, a single image in fact! So ler's get started! THUMBNAILS ‘One of the most important parte of the Job! Here I decide what need to be Included on the page to get the story ‘across clearly. Composition Is planned ‘out at this stage. These thumbnails (Figures A & B) are actual size. | like ‘to work very small if t's clearly legible ‘at this scalo, it willbe in print. Dan was looking for a powerful upshot of Thor ‘with the buildings of New York behind ‘him as well as storm clouds gathering above. My first attempt included every- ‘thing needed to tell the story, but | felt ‘that itneeded more of left-to-right flow. ‘Since we read from left to right, your eye ‘naturally seeks out that kind of move~ ‘ment. It ereates a more comfortable, immediate image. LAYOUTS { Now on to the actual page (Figure C). Layouts are where | place all of my basic shapes. At this point 'm thinking about proportions and general structure. No etal hero! It's easy to get caught up in ‘small sections of the page that are fun to draw, but i's crucial to plan every- ‘thing out at the beginning. Poor planning ‘quite often results in massive redrawing, and lots of erasing! A quick note about ‘tools: | use a mechanical drafting pen- cil (2H lead), magic rub and electric erasers, and an assortment of ruling les and circle templates. SES ae OP [EM WIZARD FREE COMIC BOOK DAY SPECIALROUGHINGITIN “Koop it loose” is the name of the game here (Figure )! lay in my basic anatomy, start to lay out costuming and, while not pictured here, lay in my perspective grid. I ry to keep my pencil lines very light because almost none of them will end up on the final page. CLEANLINE Hore | finalized my inework (Figure E).!hunt ‘Black adds weight toa page. It helps ‘iroct tho oye and establish mood, so always try to establish a sense of bal- ance. | wanted this image to feel very bodies of solid ‘the black areas at the top helps it to fee! lighter (Figure F). Also, plac- ‘ng black around the openness of ‘Thor's face helps draw the eye there. WIZARD ENTERTAINMENTis ir rarity in et ae WIZARD FREE COMIC BOOK DAY SPECIALls i ‘After | receive Toms pencils, | usually give him a call to exclaim over his excellent work! Tom is avery tight and clean poneilar. In a lot of ways, he makos my job easier because ho hhas already done #0 much work with the textures, the light Iingand the attention to dotall.On the other hand, its now my Job to koop all of his fine work in the translation to inks and ‘enhance if possible. FINISHTHE BLACKS | continue with the large brush and finish the black areas in the sky (Figure 1). | start using a bit of dry brush technique (allowing the ink onthe brush to dry out slightly before painting with it) in the clouds to make them a different texture than the nearby hai. While 'm up there, start some of the line work on the face, neck and hair. To do the buildings, 1 use a #102 crow quill pen and a straightedge (Iuse a plastic triangle with an inking lip) to outline the black areas and do some of the straight-line work before finishing the blacks. | prefer the crow quill to technical pens. Tech pens hhave only one even line width. This is called a dead line, as it has no life to It. With a quill pen I can vary the line thickness without changing pens or retracing lines. I try to analyze the style of the particular artist 'm working with. Tom's style tonds to be organic and fluid, not sharp and angular, illustrative as opposed to {raphic. Therefore, | do most of the beginning stages with brush and ink to keep the fluidity of his line and style. Over another penciler | might start with pen Instead of brush. FILLINGTHE BLACKS | begin with a #4 sable brush, painting in all of the large black areas first and the main outlines of the body and hands (Figure H). This enables ‘me to quickly get a feel for the major light source, the balance of the blacks on the page and a good ‘sense of form. It is also a great feeling of accom- plishment seeing that a large part of the drawing, ‘is covered quickly. | tond to start with the bottom of the page ‘and work my way up. When starting with a pen, | usually work down from the top left so 1 don't smear the pen lines. None of my rules are permanent. | adjust them according to the art. Every page is different, so every page is inked differently. wzano enrertanment [EXEVOLUTIONOFAPAGE | now switch to a#3 sable brush fora ite more control withthe finer detal (Figure J ). The main concentration here isthe hair and beard. Again, use ‘the brush to keep the flow and texture of the hair iting with Tom's style. A ‘en can make the hair feel scratchy or sti Tom pays alot of attention tothe hair, 60 1 d too takes practice and control with a brush to do this kind of etal For many beginning nker, hair ie the hardest thing to master ARMANDAXE ‘Aftor | finish the hair, beard and eyebrows, | go back to the #102 pen and ‘start some of the feathering on the axe and Thor's arms (Figure K).I want ‘the axe to feel metallic, so the lines are kept very smooth and even. | use a French curve with the pen to make the axe head feel man-made and tech- nical. Clouds are rougher and done freehand in order to seem natural. This is very subtle in the printed comic but the eye can see it. The details can tell an almost subliminal message to enhance the imagery. © «TEXTURE ‘Now that all the large blacks and outlines are dane i's time to concen trate even more on the details (Figure L.). For the foreground rocks and hammer | use a #108 pen point. This pen is more flexible and has a wider range of thick to thin lines. | have been aware of texture ‘throughout, but now it becomes the focus. The tarmac rubble, ham- ‘mer, smoke and hands should foe! quite different from each other. Tom is groat with textures so his efforts allow me to push it even further. ‘This section of the page is now complete. ‘Tom's lovel of detail requires more fine linework than most, so the _majority of the penwork is accomplished with the #102 (Figure M). |Imay use three or four different pens on other pencilers’ work to achieve various styles. Using the straightedge and pen, link the main lines of the closer building. Thon, l work on the details and shading of ‘Thor, finish the axe and hammer and adda bit more to the clouds. 22 | WIZARD FREE COMIC BOOK DAY SPECIALFINISHEDPAGE Tho fine linowork can be time-consuming, but the ‘end results are worth the effort. Using the samo pen, | complete the sky and Thor's face. The the texture linework on the building ground buildings and, most importantly, accentuate Thor. Lastly, I finish up the body hair and belt buckle, and ving a copy ofthe finished pencils. The page is scanned into the computer and sent Dave Kemp, and then the lettorer. Thon, we got to start all over again on the other 21 pages. inorder to finish the issue! ¢ w. Tom Raney and Scott Hanna have dropped ther artistic hammer on many titles, including DC's Outsiders. wnzaRo ENTERTAINMENT PxDRAWING ICONIC 0 start off, we have the lovely Wizard cover tem- plate (below). Whether you're doing a cover for Wizard (or any comic book), you have to take the into consideration. There are things that can be done with the logo, in terms of interaction with the char- ot acter(s), that can make an interesting layout. Some ‘magazines and some editors prefer that the logo remain untouched. actually lke to utilize the logo as a layout Rosana ade iad P29 WIZARD FREE COMIC BOOK DAY SPECIAL clear of the logo) point, Wizardis essentially an icon logo, BY JOE QUESADA COVER Mae u need to only. pd ST it’s fair game for layout manipulation, How do you make a cover interesting? | start by taking what | call my cover/page sequence “cheat sheet” (below). This sheet is comprised of 12 boxes, each of which works out to the proportions of a comic book ‘cove or page. This shee allows me to workin “stream of ‘approach, which lets me play each best approaches as I went along. AND THE WIZARDSTAFF MURS agate pt K UPLot's take a look at the evolution of one of Quosada's iconic covers: De Ree an ere ens Seas ee Lae ero m ee) Pier een earn around to the editors for feedback Rae Beet eee Eee es aed rey ee ee een es tes De eee Pr Cec a Rie ee ed sketches, Quesada sends back this more Coker pared ‘tomplate, in order to give the editors a ‘more fully realized product. DD looks eee nt eG ey version, with Wolverine crouchingin front Ce ee ene’ Cetera Sn ee ets Pee ee eer ey CO ee ene eed page eee eee eer) ee ee ed ee rs Macy wind whistle from DD's swinging billy club, Hard to think it could get better, but... Cg a sources to dramatic effect, giving the Marvel Knights trio a look that's both fresh yet realistically gritty the standard for the MK art style. ns 25 |DRAWINGICONICCOVERS Inthe final colored pioce (Fig G), you ean see how Richard tsanove's bring the artwork to life. The murky, seductive groon adds star- ‘contrast to the figures, making thom leap off the page. On See er Grae nd Wizard design team intograted the text with the imago—and cre- ated one of Wizards most “iconic” covers. Before | go, let's go over some to the editor. This is crucial bec: to draw. Don't go off on a creative tangent if i's veoring away from t (unless you dis- ‘cuss your ideas with the editor first). You'l just be wasting your time, and getting someone who has the potential to give you more work annoyed at you. EQ wrzano ence comic 800K Dav SPECIALEssontially, covers for mo are a mul- tiple-step process: #1) Talk to your editor, find out what they want, and gota cover template, #2) Do a sorios of skotches, finding ‘out what works and what doesn't. +#3) Rough figure drawing. 4#4) Using my handy-dandy Xerox machine (you can also use an over- head projector), z00m up the figures to layout size, form which I do the tight pencil sketch +#5) The final pencils. +#6) If that doosn't work, so No.2. Eee ART 49 CHES |S Saeko eee ee ae) FIGURE H ‘The actual fun of doing covers is the challenge of trying to give the reader a hint of what's going on in the book with one shot. The art of doing great cover isnot just a captivating design i's great design ‘that also tells a story in one big picture. Good luck with your future cover endeavors, but remember: When the potential comic buyer is looking at that big pizza pie known as the crowded comic book shelf, you want fo make sure if your anchovy they'elookingat. (Ww)888-COMIC-BOOK and enter your zip code. If you don’t see one of these titles at your store, THE ENGINE THAT please ask if they can order them for you. DRIVES POP CULTURE! To find a store near you, callCOMICS « TV * MOVIES « TOYS * GAMING * ANIME * MANGA * CARDS. THE ULTIMATE POP CULTURE AND MULTI-MEDIA EXPERIENGE! SAHA. er bn s So B — 1S =~ = = = co as 3 eS G WIZARDWORLD TOUR NO” “G SS 7 0). 4a agqua Don’t miss any of the excitement as we come fo a stop near you! For more information, visit wizardworld.com ‘Wan etd 60 2007 tse Conerte bs gener Pena bio Penvelit dale Us as cae 0