Jim Morrison Lives?! An upcoming graphic novel story reveals a new mystery…

Image Comics released announced a new graphic novel following its the release of Paul Is Dead, the critically acclaimed work of writer Paolo Baron and artist Ernesto Carbonetti. This time its Jim Lives: the Mystery of the Lead Singer of The Doors and the 27 Club, an all new original graphic novel that builds upon a theory that famed musician Jim Morrison never died. This is the second standalone graphic novel in a trilogy set ahead from Image Comics, this June 2021.

Perfect for fans of conspiracy theory and speculative thrillers, Jim Lives follows the story of a man searching for his son—a correspondent for a popular American newspaper—who vanished into thin air after sending one last, enigmatic message: Jim Morrison isn’t dead, he’s hiding out here in Italy, I saw him with my own eyes.

“I wrote Jim Lives by continuously listening to The Doors vinyl records while I was in the small village where I set the story,” said Baron in a recent press release from Image Comics. “At one point I really saw him. I mean Jim.”

Join the creators of Paul Is Dead as they reveal the second chapter in their “conspiracy trilogy”: a new, fascinating vision of the most mysterious legend in the history of rock that envisions what happened “When the Music’s Over.”

Carbonetti added: “I love to draw the small towns of the Italian province made of stone walls and roads that line the sea. While I was working on Jim Lives I felt there.”

Jim Lives original graphic novel will be available on Wednesday, June 16 and in bookstores on Tuesday, June 22. Also on many popular digital book platforms.

Paul Is Dead original graphic novel is still available at your local comic book shops and large retail shops and online stores everywhere!

Psychological horror series REGRESSION, coming soon in trade paperback

This November, Image Comics will release Regression: Volume 1: Way Down Deep by horror writer Cullen Bunn (Harrow County, The Damned), artist Danny Luckert (Haunted), and colorist Marie Enger (Pistolwhip, 2 Sisters) in trade paperback form, collecting issues #1-5 of the mind-bending horror series.

Plagued by ghastly waking nightmares, Adrian reluctantly agrees to past-life regression hypnotherapy. As his consciousness is cast back through time, Adrian witnesses a scene of horrific debauchery and diabolism. Waking, he is more unsettled than before, and with good reason—something has followed him back. Adrian descends into a world of occult conspiracy, mystery, reincarnation, and insanity from which there is no escape.

“My father was a professional hypnotist,” said Bunn. “While his on-stage performances centered around humor, he conducted past life regressions for select groups. I witnessed several of these regressions, and each one was surreal and eerie in its own way. Subjects described different times and places in vivid detail. They spoke with unusual accents. They spoke languages they had never (to our knowledge) studied. The most bizarre occurrences were the regressions which resulted in a completely silent subject.

“To me, it seemed that either they were a genuine ‘new soul,’ or whatever they saw in their past was too horrific to so much as utter,” continued Bunn. “This story is designed to conjure that same sense of unease and horror.”

Regression: Volume 1: Way Down Deep arrives in comic book stores on Wednesday, November 15th, then available in bookstores on Tuesday, November 21st

Comic Reading Review: Eleanor and The Egret #2

Eleanor & The Egret #2

  • Writer: John Layman Artist: Sam Keith Colorist: Ronda Pattison
  • Published by: Aftershock Comics Publish Date: May 17, 2017
  • Notes: Monthly comic series


“What kind of thief leaves a single feather at the scene of the crime? Perhaps one that has a talking, painting-eating, oversized Egret as a pet—a pet that gets more oversized the more paintings he eats! Sounds fun, right? Except for some of the people now determined to stop this thief, who is anything but!”

Personal Thoughts (minor spoilers):

This is the most long-awaited second issue of a new series in recent memory. Yes, I thoroughly enjoyed the first issue of Eleanor and the Egret for its awesome writing and introductions from John Layman (best known for Chew). And, I also enjoyed the return of the magnificent art stylings of the creator of Sam Keith (best known for The Maxx).  So here I am, with the second issue at last. Does it carry on the momentum?

From the first few pages, there is a bit of prologue setting up of a possible foil to Eleanor and her giant white avian partner; Detective Belanger. A distinguished style is carried in his stature and composure with the hat, trench coat, curvy thin mustache, and a cat (!). Such exhibits confidence in his investigations but there some odd placement and attention to the surrounding zoo settings, which challenges the thinking of Detective Belanger. The zoo animals present are large, with more detail than the humans. There leads to the idea to me, that perhaps there is more than meets the human eye.

In the next story sequence, Eleanor and the Egret meanwhile steal another painting. Such the act takes time over many pages of beautiful exposition. The artist and colorist do an amazing job of displaying the large panel sequences and happenings of the action and reaction. Each shot with the position of the truck, bird, and figures are perfectly done. The result, exhibits the cleverness of Eleanor and her Egret, as the best-shared asset for their painting stealing goals.

The following pages set-up the players of this curious drama, with bits of back story and droppings of interesting developments. This leads to further revelations (and new questions) of the identities of this brilliant duo. Both and Eleanor are partners in a plan more complex than simple theft, for personal reasons against a particular painter. I am quite anxious on the deeper story of this, and what crazy original reason that I think only the writer John Layman can tell.

Then we meet the painter of the stolen paintings, Anastasia Rue. Her introduction is classy, yet sinister and devious. There is great buildup within the last few pages, of her ruthlessness in seeking out the culprit with a probably personal connection, and perhaps there is more to her than her art. The last page heightens the suspicion, with something that is terrifying and exciting at her request.

Overall, a treat that fans of the first issue will also consume and enjoy. John Layman does a wonderful job with his playful exposition, while Sam Keith’s unique style remains awesome. No pages are wasted in either talent, with great results leading me to impatiently wait for the third issue.