Kevin Melrose, Author at Robot 6 @ Comic Book Resources - Page 3 of 324
Debuting in December from the publisher’s KaBOOM! imprint, the all-ages comic centers on a 9-year-old girl with a wild imagination who moves to a small town, where she’s the new kid who struggles to make friends. However, that changes when Abigail meets Claude, a Yeti pursued by the Shadow Men” after he escaped a top-secret government facility.
An Eisner and Harvey award winner, Langridge is no stranger to BOOM!, where he’s worked on The Muppet Show, Popeye, his creator-owned Snark! and the upcoming Jim Henson’s The Musical Monsters of Turkey Hollow.
“I’m doing this book for BOOM! mainly because they asked me, really,” the cartoonist explained in the video released in July. “They asked me if I had some ideas, and they’ve been good to me in the past as far as all-ages material goes — they know how to sell all-ages material, which is what this is.”
Warner Bros. Entertainment CEO Kevin Tsujihara confirmed impending layoffs across the studio in a memo sent Thursday afternoon to employees. Although no date or numbers were given, Deadline suggests the cuts will likely take place in the fourth quarter.
“We are doing our best to minimize staff reductions,” wrote Tsujihara, who was named CEO in January 2013. “However, and it pains me to say this, positions will be eliminated — at every level — across the Studio.”
Warner Bros.’ subsidiaries include DC Entertainment, Warner Bros. Pictures, Warner Bros. Interactive Entertainment, Warner Bros. Television, Warner Home Video and New Line Cinema. It also co-owns The CW with CBS Corporation.
Although reports earlier this week indicated the studio would offer buyouts before it resorted to layoffs, there’s no mention of that approach in the memo. In fact, it would seem buyouts are off the table, as Tsujihara’s introduction makes it clear he wanted”to set the record straight” following “misinformation in the press.”
Although there have been plenty of events — with still more to come — in celebration of Batman’s 75th anniversary, Popeye’s 85-year milestone has gone largely unnoticed. However, King Features Syndicate and Los Angeles’s Hero Complex Gallery are about to remedy that.
The official “Popeye: A Tribute Art Show” premieres Friday, with more than 100 artists from around the world paying homage to the spinach-eating sailor introduced in 1929 in E.C. Segar’s Thimble Theatre comic strip.
Curated by by the illustrator Chogrin, the show features works by such artists as Francesco Francavilla, Brent Engstrom, Miranda Dressler, Scott Balmer, Alina Chau and Shawn Dickinson. Of course, they’re just for starters. You can see some of the pieces below, and more on the art show’s blog and Facebook page.
For X-Men fans nostalgic for the 1990s — those halcyon days when Storm was clad in white and yellow, Cyclops was fitted with unnecessary straps, and Colossus still sported pointy shoulder-thingies — Funko is releasing a line of Marvel Classic X-Men Pop! Vinyl bobble-heads.
Available in November, the set features 3.75-inch figures of the aforementioned Cyclops, Storm and Colossus, plus Professor X, Magneto and Mystique, all in their ’90s finest. You can check them all out below.
Colbert Report host Stephen Colbert Tuesday on Late Night with Seth Meyers, where the conversation quickly turned to the upcoming Marvel variant cover depicting him as the Falcon, and then to what he recalled as “one of my proudest moments”: when he was bequeathed Captain America’s shield in 2007 following the death of Steve Rogers.
“I got a letter — and the shield — I got a letter from Joe Quesada, who’s the head of Marvel Comics, he said, ‘We’ve read Cap’s will, and in his will he said there’s only one person patriotic enough to wield the solid vibranium shield,’ and it was you, Stephen Colbert. And my wife, who knows nothing from Marvel — she grew up playing with, you know, paper dolls, that sort of thing — she read the letter and wept with pride for me. And she said, ‘I don’t know why I’m so proud of you.’”
First Second Books has announced Secret Coders, a graphic novel by Eisner winner and National Book Award finalist Gene Luen Yang and Bravest Warriors cartoonist Mike Holmes. The publisher indicated on Twitter that it’s the first book in a series.
Aimed at middle-schoolers, Secret Coders centers on Hopper and Eni, who discover their rather mundane prep school was built atop another mysterious institution, one dedicated dedicated to secret and wonderful knowledge — computer code.
“There’s something magic about coding, especially old-school coding,” Yang, who for the past 17 years has taught computer programming to high-school students, tells Wired. “When you type these words into this machine, something kind of magic, something kind of crazy happens.”
His hope is for readers to learn code alongside Hopper and Eni. “There’s a pure, visceral sense of joy [in coding] that I want to communicate with my students and my readers,” Yang says. “When I learned how to code in fifth grade there was something very empowering about it. What I tell my students is that deep down inside of every coder is this desire for control. You get to tell this really powerful machine what to do.”
First Second, which published Yang’s American Born Chinese, The Eternal Smile, Level Up, Boxers and Saints and The Shadow Hero, will release Secret Coders on Sept. 28.
A division of Reed Exhibitions, ReedPOP produces pop-culture events ranging from Chicago Comic & Entertainment Expo and New York Comic Con to Singapore Toy, Gaming & Comics Convention and Star Wars Celebration. India Comic Con stages shows in New Delhi, Mumbai and Bangalore, with an edition debuting next month in Hyderabad.
“Working closely with leading publishers, we have put comics, especially Indian comics, back on the map and opened up the pop culture space even further in India,” Comic Con India founder Jatin Varma said in a statement. “Our partnership with ReedPOP will help us scale further and create world class events that will deliver the best experiences to audiences here in India. With this JV [joint venture], I hope to have our events counted among the top events in the world, within this sphere, in the coming years.”
Although I’m willing to concede this video is probably an elaborate prank, I’ve seen enough bizarre footage from Russian security cameras (wolves!) and dashboard cams that I can just as easily chalk it up to another Saturday night in Chelyabinsk.
Whatever the case, the video captured over the weekend shows a Russian motorist stopping his car in the middle of the freeway and approach the van behind him. It’s impossible to guess the subject of the brief conversation, but it’s safe to say no compliments were exchanged. But, just when it seems the harmless confrontation is over, the door of the van opens … and unleashes furry hell.
Marvel has partnered with Disney Consumer Products to kick off “Marvel Super Hero September,” an ambitious national marketing campaign showcasing the company’s characters — and its brand. Marvelkids.com is being relaunched as part of the effort.
Timed to coincide with Marvel’s 75th anniversary celebration, the initiative encourages the public to “Power Up Like a Marvel Super Hero,” while spotlighting some of the properties that aren’t heating up the box office at the moment. It’s the first of what’s envisioned as an annual event.
Arrow Season 2.5, which debuted Monday, will alternate weeks with The Flash: Season Zero. Set between the second and third seasons of the hit television series, Arrow is penned by executive producer Marc Guggenheim and staff writer Keto Shimizu, and illustrated by Joe Bennett and Jack Jadson. The Flash: Season Zero, meanwhile, takes place between the events of the pilot and the second episode, and is written by Andrew Kreisberg, Brooke Eikmeier and Katherine Walczak, with art by Phil Hester and Eric Gapstur.
Disney is attempting to prevent DJ/producer Deadmau5 from trademarking his signature mouse-head logo, claiming it’s too similar to the iconic Mickey Mouse silhouette. Signs that the entertainment giant would oppose the application surfaced in late March.
In a staggering 171-page notice of opposition filed Tuesday with the United States Patent and Trademark Office, and first reported by TMZ, Disney traces its use of the familiar imagery back to “at least 1928,” with the introduction of Mickey in Steamboat Willie. Disney news site Stitch Kingdom has more details about the filing, in which the company argues the mouse ears have been a key element of its consumer products “at least as early as 1955″ (that’s the year The Mickey Mouse Club premiered on television).
Outside of Dazzler, Lila Cheney and Zenith, we don’t often see musicians as superheroes — or is it superheroes as musicians? — in comic books. But that didn’t stop illustrator Andrés Moncayo from exploring the concept in “Super Rockers,” in which he assembles a lineup of DC Comics and Marvel superheroes for a rock-star makeover.
“I made this project because nothing inspire more as a child than superheros and music when I was a teenager,” Moncayo writes. “So here it is, music and superheroes together.”
As far as I can tell, the Quentin Quire-inspired “Cullen Was Right” image was a gag in response to reader comments on writer Cullen Bunn’s blog about the bald Magneto in his Marvel comic series. But now it’s become an honest-to-goodness T-shirt design, as you can see below.
“I admit, it started as a joke,” Bunn writes on his website. “But the response to the CULLEN WAS RIGHT t-shirt idea has been overwhelming … so I’m making them available for a limited time. I’m opening up pre-orders for the shirt for the next week or so, just to make sure I order appropriately. Show your allegiance as a Bunnhead … or just wear this shirt ironically. The choice is yours!”
Just when it seemed Milo Manara’s controversial variant cover for Spider-Woman #1 had been thoroughly scrutinized, criticized, defended and lampooned, two more critiques emerged that will likely lead you to rethink the image, and then wash your eyes out with industrial cleaner.
Note: Perhaps needless to say, neither of these is particularly safe for work.
“We in the book community are in the middle of a sustained conversation about diversity. We talk about our need for diverse books with diverse characters written by diverse writers. I wholeheartedly agree. But I have noticed an undercurrent of fear in many of our discussions. We’re afraid of writing characters different from ourselves because we’re afraid of getting it wrong. We’re afraid of what the Internet might say. This fear can be a good thing if it drives us to do our homework, to be meticulous in our cultural research. But this fear crosses the line when we become so intimidated that we quietly make choices against stepping out of our own identities.
After all, our job as writers is to step out of ourselves, and to encourage our readers to do the same. [...] We have to allow ourselves the freedom to make mistakes, including cultural mistakes, in our first drafts. I believe it’s OK to get cultural details wrong in your first draft. It’s OK if stereotypes emerge. It just means that your experience is limited, that you’re human. Just make sure you iron them out before the final draft. Make sure you do your homework. Make sure your early readers include people who are a part of the culture you’re writing about. Make sure your editor has the insider knowledge to help you out. If they don’t, consider hiring a freelance editor who does.”
– Gene Luen Yang, in his speech about diversity, delivered over the weekend at the National Book Festival in Washington, D.C.