INTERVIEW: Gail Simone Guides 'Blockbuster Update' of Red Sonja, Vampirella and Dejah Thoris
After quietly announcing Offset Comics in July, Viking and NYC Mech writer Ivan Brandon further introduced the project at New York Comic Con, describing it to The Associated Press as a “giant, amorphous experiment” that approaches storytelling from a “100 percent creative declination.” That doesn’t exactly clear up the mystery, does it?
“I’m calling Offset a lab,” he tells Comics Alliance. “And what that means to me, anyway, is that it’s a series of experiments intended to try completely new routes in terms of story and in terms of who’s entertained by it. Comics has been for all of my life and most of its life defined by some very specific logistical parameters: pages are 6.875 inches by 10.437 inches based on bulk paper costs. Margins and trims are determined by the potential for printer error. Comics are expressed in eight-page increments, and so on. Offset is among other things an attempt to discard logistical motivation and be 100% creatively motivated. Not worrying what markets will support a thing or what demographic it speaks to or how economical anything is. The first experiment people will see from us is, obviously, a form of comics.”
The first three Offset projects are Brandon and Eric Canete’s Destroyer, exploring what happens after the end of the world, Daniel Krall’s Doublecross, about a man who held the shadows at bay until the shadows made him a better offer, and Brandon, Chuck BB and Ryan Browne’s Deathface, an homage to 1980s action heroes.