"Sam Wilson" & US Agent Clash as Spencer's "Captain America" Saga Escalates
In September 2014, when readers first met Spider-Gwen in Edge of Spider-Verse #2, I expressed a desire that the Spider-Verse crossover event would not be the last folks would get to enjoy the adventures of the alternate Marvel universe (Earth-65) with a living Gwen Stacy. In fact, I speculated “judging by the creative team’s eagerness to do this one-shot, I imagine they could easily be persuaded to do far more than one issue.” Just how much more they were ready to do became delightfully obvious this week with the launch of the new Spider-Gwen ongoing.
The writing team of Brian Joines and Jay Faerber along with the artistic combo of Ilias Kyriazis and Charlie Kirchoff have created the Front Line, a quirky Canadian-based team with far more interesting personal lives than their heroic pursuits, as neatly laid out in the first issue of the Image Comics series, Secret Identities.
Next week will be big for Thief of Thieves artist Shawn Martinbrough on two fronts, as not only does Thief of Thieves #26 go on sale Feb. 25, but on the following day he’ll discuss his career and his noir-influenced approach to storytelling as part of the Society of Illustrators’ celebration of Black History Month. He’ll be joined in the conversation by comics writer and historian Danny Fingeroth.
In conjunction with the release of Thief of Thieves #26, ROBOT 6 asked Martinbrough to rank his 10 favorite covers, and reveal a bit about the creative process for each one:
This week marks the release of Matthew Dow Smith‘s October Girl #3, nearly two and half years after the debut of the second issue of the Monkeybrain Comics series. Smith is the first to admit that’s way too long a period between issues.
As part of my continuing effort to have creators open up about their creative process, I asked Smith to share the process for creating a page from October Girl #3. He’s clearly eager to get the next installment of his dark fantasy series into readers’ hands. Understandably, given that the story’s core concept seems delightfully engaging on several levels (a young woman, Autumn Ackerman, discovers that her imaginary childhood friend is quite real).
Since the late 1970s, on a weekly basis, I always have eagerly anticipated the day new comics were released. This week was faced with the greatest amount of anticipation, because of events in my personal life. In the early hours of this past Tuesday morning, a seizure of unknown origin rendered me temporarily unable to speak and unexpectedly hospitalized for a few days. One immediate change due to my hospitatlization, state law prohibits me from driving for the next six months. Fortunately, my wife was kind enough to drive me to the comic book store the day after my release from the hospital.
This week, due to my health scare, I was just a smidge more appreciative than normal to see the release of the first issue for Jimmie Robinson’s new Image Comics creator-owned series, The Empty.
Next month Dark Horse will release a collected edition of Murder Book by writer Ed Brisson and a variety of artists — Declan Shalvey, Simon Roy and Johnnie Christmas, among them — with a new cover by Michael Walsh (based in part on one of his designs for a previously released volume of Murder Book stories).
Dark Horse’s Associate Editor Jim Gibbons was kind enough to share with ROBOT 6 some of the cover process for the new Murder Book trade paperback, due out March 18.
Last week Lee Loughridge, colorist of Deadly Class, Southern Cross and Catwoman, spent a few days last week at the SCAD Atlanta campus lecturing and working with students in conjunction with the institution’s Alumni Mentor Program.
According to Pat Quinn, associate chair of sequential art: “The Alumni Mentor Program’s intent is to show current students how alumni found success in their field. Lee is an incredible example for our students, not just because he’s great at what he does, but more importantly because he knows the business inside and out. His insights into the art of making comics and how to survive as an artist are really invaluable.”
Quinn offered ROBOT 6 photos that he took over the course of the colorist’s visit, and we were able to chat briefly with Loughridge and some of the students about the experience.
Last month when writer Grant Morrison hyped Nameless, his newest Image Comics collaboration with artist Chris Burnham, by name-dropping concepts such as “nihilistic philosophy,” I found myself thinking “Christ on a crutch, that sounds dreadful.” Years ago I made my peace with how to appreciate Morrison. I do not dislike Morrison–I count his Animal Man and Doom Patrol runs among among my top 10 favorite comics series that I have read.
We frequently relish the opportunity to recommend creators or projects that readers might not otherwise consider. But in an effort to mix things up, it never hurts to solicit opinions from the creators themselves. This week, Justin Greenwood, artist of The Fuse and Stumptown, takes a moment to discuss Joe Infurnari‘s work on the sci-fi mystery series The Bunker.
In The Life After, the Oni Press series by writer Joshua Hale Fialkov and artist Gabo, things can get a little complicated — not only in the story, which involves religion, purgatory and even a dead Earnest Hemingway, but also in the construction of each issue. After all, this is a comic whose debut featured a 50-panel two-page spread.
But what does it take to create a cover for the series? Glad you asked! We’re pleased Gabo has shared with ROBOT 6 his cover process for The Life After #9, which goes on sale in April (in more immediately news, Jan. 28 sees the release of a direct market-only $9.99 trade paperback).
Check out Gabo’s step-by-step process and commentary below:
This week sees the release of the sixth issue of Natalie Nourigat‘s Eurotrip sketchbook Tally Marks, from Monkeybrain Comics. In addition to the preview on Comic Book Resources, Nourigat provided ROBOT 6 with some other pages, as well as a selection of scans directly from the sketchbook. It provides readers with an idea of what her art looks like before Photoshop tweaks.
I made no bones when I first wrote about the Joëlle Jones/Jamie S. Rich Lady Killer five-issue miniseries would be a must read, given the fact that award-winning veteran colorist Laura Allred would be gracing Jones’ art. While going into the first issue with elevated hopes, amazingly enough the Jones/Allred artistic team exceeded all of my heightened expectations.
Following the devastating attack Wednesday on the Paris headquarters of satirical magazine Charlie Hebdo that left 12 dead — among them, five cartoonists — countless creators turned to social media to express their outrage and grief, but also their support of free speech and solidarity with those who risks their lives when they put pen to paper.
Hashtags such as #JesuisCharlie, #CharlieHebdo, #weaponsofchoice, #WeaponsOfMassConstruction have sprung up across Twitter, Facebook and Instagram, many accompanying photos of artists wielding their “weapons of choice”: pens and pencils.
We’ve highlighted just some of those posts, as well as a few others that address the killings.
Late last year, I noticed that writer/artist Mike Dawson was contributing original content to The Nib, a collection of political cartoons, comics journalism, humor and nonfiction at Medium.com edited by Matt Bors.
Curious to learn what led him to participating at The Nib, and hoping to see if I could get Dawson to break down one of his recent pieces that ran there, I reached out to the cartoonist. It turns out he was more than happy to reveal the development process for his Oct. 6 strip, “The Underdog Myth.”
This week Titan Comics releases a new collected edition of Kingdom of the Wicked, the 1996 fantasy miniseries by frequent collaborators Ian Edginton and D’Israeli (Dark Horse published a hardcover collection in 2004, but it’s out of print.)
The new edition offers a sort of director’s commentary by D’Israeli, who details his creative process. To let readers know what they will get when buying the book, Titan shared with ROBOT 6 some the process for one page, as well as D’Israeli’s commentary.