Jason Latour, artist on the Mignola-verse titles Sledgehammer 44 and B.P.R.D. Hell on Earth: The Pickens County Horror, has posted the image below to his blog, and it’s a doozy. His work on those two Hellboy spinoffs has been under-praised, pitched perfectly between the contributions made to Dark Horse’s flagship line by the likes of Guy Davis and Duncan Fegredo. This composition was produced as badge designs and
program cover an exclusive print for this year’s HeroesCon, which as Latour points out, has been an ambition of his for most of his life. That’s another one scratched off the bucket list.
Close-ups of several of these panels can be seen at Latour’s Instagram feed, in various stages of completion. He’s on something of a hot streak as an artist and a writer these last couple of years. I don’t buy that many Marvel comics these days, but his presence on Winter Soldier sold it to me. I’ll miss it, but here’s hoping he makes his way back to Dark Horse for more digging around in Mignola’s sandbox.
Butcher Billy, Brazilian king of the pop culture/comic book mash-up, is at it again. This time, it’s reimagining some of the key figures of post-punk and New Wave as the Justice League. Billy defines the dichotomy behind these images as “real people or imaginary characters, the incorruptible ideals of perfect superheroes or the human flaws and desires sometimes so desperately depicted in song lyrics.”
There’s some good likenesses there, but my favorite bit is when he Photoshops his designs onto T-shirts worn by his original models. I really can’t see the famously curmudgeonly Morrissey approving of being compared to a corporate flagship alpha male like Superman. That said, didn’t Mark Waid rewrite DC Comic continuity to make Clark Kent a vegetarian? Dunno if that still stands, though. There have been at least two reboots since Birthright, haven’t there?
Yuko Shimizu recently posted a gallery of amazing science fiction-style art at the portfolio site Behance. A couple were covers for the Vertigo series The Unwritten, but most consisted of book covers and illustrations that were too good not to share. Shimizu posts pictures of the unadorned illustrations beside shots of the images out in the wild, for context. As well as being a great illustrator, she’s an extremely talented designer.
My personal favorite after the jump may well be the Robert Crumb-referencing piece for a Fused TV magazine ad: Keep on space truckin’, indeed.
So, you’ve been waiting for Paul Pope’s Battling Boy in varying states of eagerness and frustration since first hearing about the project in 2006. Perhaps now you’ve seen actual physical proof that this near-mythical beast exists in the wild, and as such have allowed any despondency to be replaced again by sweet anticipation. Thinking, hey, looks like I’ll finally get my hands on this, you go ahead and pre-order it from your regular book pusher.
Well, in the immortal words of Warren Zevon, reconsider that pre-order: It turns out Pope has a special relationship going on with his local bookstore in Brooklyn, Word, and if you order it from them before Oct. 4, you can get an autographed and personalized copy instead, with the books then shipping on the official release date of Oct. 8.
Tempting, isn’t it? Just make it “To Mark, better late than never!”
(via Destroy Comics)
Saw this via Mike Mignola’s Facebook feed: I feel like I’m maybe the wrong man to bring you this news, but Black Phoenix Alchemy Lab are Elizabeth Barrial or Brian Constantine, a pair of Californian perfumiers who “specialize in integrating mythology, archetypes, folklore, poetry, and visual artwork with scent.” They’ve produced themed ranges influenced by H.P. Lovecraft and the works of Neil Gaiman in the past, and now they’ve brought out The Hellboy Collection, a “series based on the characters, locations, themes, and concepts in the world of Eisner-award winning Mike Mignola’s Hellboy.”
There’s a lot of humor present in this range: Hellboy’s signature fragrance is described as “aftershave, candy wrappers, brimstone, and cat.” There’s a scent called “A Plague of Frogs” described as “rubbery, wet, and warty.” Trevor Bruttenholm’s is “a classic men’s cologne mixed with the scent of old, yellowed books, a splash of bay rum, and summoning incense,” and Kroenen’s has the extremely pervy-sounding “shining black leather, gleaming metal, labdanum, and myrrh.” Funny stuff, but showing the B.P.A.L. crew are obviously fans of Mignola’s work.
The thing is, I don’t need this because I reckon I already smell like Trevor Bruttenholm without even needing a bottle of perfume, but this is possibly the oddest sounding product licensed from a comics property ever, and for that it deserves a hearty round of applause.
My favorite comic of the past year by a clear head and shoulders has been The Nao of Brown by Glyn Dillon. In fact, when others were courting controversy by loudly bemoaning the absence of Marvel and DC comics in the nominations for Eisner Awards, I was to be found loudly berating anyone that would listen that it was a crime Nao wasn’t in the running at all. It should have been nominated in at least three categories, I’d argue.
History won’t judge this oversight well, I would rage. It won the Prix Spécial du Jury at this year’s 40th Angoulême International Festival of Bande Dessinée, I’d point out. The French don’t just throw those things around like confetti. They know what they’re talking about. And they hate the English, I’d generalize. How good must it be for them to forget Agincourt and Waterloo and give the prize to a Ros Bif? Then the ambulance arrived, that big guy injected something into my neck, and I can’t remember much of the next couple of days at all.
Ever heard of digital publisher Dog Boy Productions? Neither had I until I saw these earlier: Mike Mignola’s cover designs for a new edition of Carlo Collodi’s The Adventures of Pinocchio, and Scott Mignola’s Pinocchio’s Forgotten Land.
Digging about, it seems that Dog Boy was set up by Scott Mignola as “a small boutique publisher of new, rare, and out-of-print material in digital form.” Sounds promising, and having one of the greatest illustrators of a generation in the family can’t hurt, either. The pencils for the cover of the Collodi book can also be seen below.
I’m no polyglot. My understanding of the Spanish on the pages these images come from is regrettably all from Google Translate, but I do know “awesome” when I see it, in any language. Mexican artist José Quintero has produced a series of digital paintings inserting superhero iconography into classically influenced themes. There’s “Alegoría del superhombre,” based loosely upon Michelangelo‘s mural on the Sistine chapel, and painting the Superman on the left with the face of Friedrich Nietzsche; “Alegoria de David Vs Goliat,” inserting Spider-Man and Venom into a composition influenced by Caravaggio; and “Alegoria de San Jorge y el dragon,” replacing the saint from Joseph Boehm‘s statue with Batman.
There’s extensive galleries revealing Quintero’s processes at his Behance site.
Over the weekend various toy blogs were buzzing over this image: the first prototype to leak out from the agreement between Ashley Wood’s 3A Toys and Marvel, as announced in February. And it’s pretty much exactly how you’d expect Iron Man to look after being redesigned by the man who created Popbot. Eventually, the official 3A blog released this clearer version of the teaser.
After a period of screenings at festivals and conventions, the Judge Dredd fan film Judge Minty has finally been released in full online. Packed with Easter eggs for long-term 2000AD fans, it proves that these days it would be entirely feasible to produce an authentic and faithful version of the futuristic lawman on a small-screen budget. As much as I enjoyed last year’s Dredd 3D, it’s hard not to watch this short and list the things that this production did better. For starters, this budget effort manages to properly get the Lawmaster bike, a street judge’s preferred form of transport, something the Stallone and Urban films got wrong in their different ways.
I’ve often heard creators who’ve worked on the comic-book adventures of Doctor Who comment that current showrunner Steven Moffat is somewhat dismissive of the contributions comics have made to the character’s extended canon. That said, last Saturday’s episode featured the recurring series MacGuffin “the Eye of Harmony,” which has Alan Moore to thank for around 50 percent of its backstory.
In his first season in charge, Moffat inserted an episode based upon the Doctor Who Monthly strip “The Lodger” by Gareth Roberts, adapted by Roberts himself. His second season featured the Ray Bradbury and Hugo award-winning “The Doctor’s Wife” written by Neil Gaiman, who’s been known to write a comic or two in his time. He’s returned to the series this season to write “Nightmare in Silver.”
“Extremely limited edition” in this case means “you can’t have one.”
Artist Paolo Rivera has more reason than most to take pride in the box office success of Iron Man 3: He has blogged before about how thrilled he was that an early poster for the movie was based on his cover for Iron Man #63, and now he’s written about his emotional investment in seeing the film for the first time.
This would be noteworthy enough in its own right, but the piece is accompanied by a spectacular print that he’s painted exclusively for the cast and crew of the production. Rivera had previously produced a suitably 1940s-looking poster for those working on Captain America: The First Avenger, and the Iron Man 3 print is designed to resemble a battered old pulp novel (suitably enough, given the styling of the end credits animation and the origins of Robert Downey Jr. and Shane Black’s previous collaboration). This is an extremely cool piece of art, and as exclusive as any limited edition poster you’re likely to see — do not expect to see copies of this one ever turning up on eBay (unlike, say, the gougers flogging his “Precious Cargo” at a helluva mark-up).
Sure, there was plenty of news released by just about every comic publisher over the weekend at the Chicago Comic & Entertainment Expo (as rounded up right here), but the most exciting thing I noticed about the convention was Dave Johnson’s Instagram feed going ballistic. If he produced a sketch for you at the event, chances are he recorded it for posterity on his phone and has posted it already. And if you’re really lucky, Eric Canete has logged in and made a daft gag about it, too.
Also below: the sexiest Death ever.
As a prime mover in U.K. comics since the 1970s, Pat Mills has been directly or indirectly responsible for promoting entire generations of artistic talent. He was IPC’s go-to guy for launching comics in the mid-’70s, and even after his stint editing 2000AD; many great artists there tended to get their first breaks working on his strips, which surely can’t be coincidental. Similarly, although he didn’t edit Crisis, he was arguably the driving force behind the comic, where again an entire generation of new comickers earned its stripes 00 and then yet again at Toxic!, where several noticeable new artistic talents worked on strips written or co-written by him.
Mills is at it again, bringing on Fay Dalton as co-artist with Clint Langley on American Reaper in the Judge Dredd Megazine. Mills was on the panel of judges when Dalton won a competition ran by the illustration agency Pickled Ink in 2010 to find an artist to draw the graphic novel Party Girls by Jenny McDade, some sample pages from that project can be seen at her website, her work then revealing the possible influences of James Jean and Frazer Irving. A further look around her website now reveals an artist influenced by the golden age of commercial illustration, such as the work of Robert McGinnis, and her comic pages (as previewed at Mills’ blog) show some influence from Look In-era John M Burns. She’s came a helluva long way in the three years between the two projects. Here’s hoping she stays in comics for the long run: her work is like nothing else being produced in the form right now.
There was a tantalizing, small, tightly cropped snippet of this image as a house ad in last week’s 2000AD, but here is the cover to Prog 1830 in all its insane glory. Available May 1, it’s a very retro effort by Elephantmen artist Boo Cook starring the cast of his new three-part miniseries “Gunheadz.” Tharg’s regular spokeshuman Michael Molcher explains: