Top Cow is teaming once again with video game designers EP1T0ME Studios to co-produce and to publish Destiny Gate, a “noir thriller” comic.
This will be the fourth title the two companies have collaborated on, following St. Mercy, The Clay People: Colossus, and Revolvers. This one is based on a video game concept by Paul Limon, which EP1T0ME plans to make in the future.
“I told Paul, an ex-Blizzard artist, that his Destiny Gate game pitch was one of the best I’d ever read;” said Richard Leibowitz, President at EP1T0ME. “We’re happy to work with Paul and Top Cow to make the comic and look forward to making the game next.”
Writer Ryan Cady, whose Haunt You to the End debuted a few weeks ago, will work with illustrator Christian DiBari, who drew The Clay People: Colossus, and colorist Simon Gough.
Here’s the description from Top Cow:
Life, for the most part, is the product of the decisions you make. For some, a “wrong” decision or two (or more) leads to a crossroads on the other side of the Destiny Gate. Do you fight for a chance to survive and to start anew, or do you succumb to your inner demons and end it all for you and, worse, yours? In this opening tale, we meet Mitchell Slate at the height of the Great Depression. Down on his luck and heading home to a disappointed and desperate family, Mitchell’s train ride veers off the rails and transforms into a macabre and darkly fantastical journey into his own fragile soul.
“The narrative and artistic elements playing out in Destiny Gate are among my favorites—mind-bending horror, surrealist psychological architecture, and of course, radical art deco design. “ said Cady. “With everything to play with here, it’s been a thrill to translate the immersive horror of a game like this into comic book form.”
The first issue’s main cover, seen above, is by DiBari and Gough, and here’s a look at cover B by Rahsan Ekedal:
“It is great reuniting with Ryan Cady who, like me, is a huge horror fan,” said DiBari. “Inspired by films like Dark City and Jacob’s Ladder and Ryan’s scripts, I use heavy shadows and different kinds of brushes to push the visual look more in a noir direction with nightmarish images.”
Look for the first issue on Oct. 11.