Tim O'Shea, Author at Robot 6 @ Comic Book Resources - Page 3 of 23
Of the myriad artists working at Marvel in recent years, Valerio Schiti, who kicks off a two-issue stint this week on Avengers A.I., stands out as one of those deserving a great deal more attention. I’m hard pressed to define what most appeals to me in terms of his work, but Schiti’s knack for distinctive facial reactions ranks high on the list. It’s also an element he and I discuss in this interview (be sure to also peruse the preview of Avengers A.I. #5 on Comic Book Resources). I hope Schiti’s boundless enthusiasm for his craft, which is reflected in his work, comes across in this interview.
Tim O’Shea: The first issue of your two-issue stint (Avengers A.I. #5-6) leaps right into the deep end, as detailed in the solicitations, as Issue 5 tackles the “mind-bending origin of Alexis.” How excited were you when you learned you got to tackle that in your first issue?
Valerio Schiti: It’s great to have the chance to work on such a defining moment for a new character. We don’t know anything about Alexis yet, even if Sam [Humphries] and André [Araùjo] introduced her. We already know what she looks like, some of her abilities but we still don’t know who she really is, what’s her purpose. Usually a normal writer would use a flashback sequence to answer such questions, but Sam is not a “normal” writer. He decided to take advantage of the artificial nature of Alexis to reveal something new about her in an original way, which means that is also a visually original way! I had a great fun drawing this scene and Frank [D’Armata], with his amazing talent for colors, made it spectacular.
Once in a while, when I go into the comics shop to snag my weekly pile, there will be something on the shelf that catches totally unaware. On Oct. 2, I was delighted to discover the Comic Book Legal Defense Fund’s Liberty Annual 2013 (published by Image Comics). Given that all the proceeds from the book (previewed here at CBR) benefit the CBLDF, I wanted to interview Dark Horse Editor-in-Chief Scott Allie, who directed the project. While I had his attention, I couldn’t pass up the chance to discuss some of the Dark Horse line as well.
Tim O’Shea: While seemingly an obvious question, I still think it worth asking: Why is it so important to you to volunteer your time for a project like the CBLDF Liberty Annual?
Scott Allie: Free speech is a near and dear cause, for me and for Dark Horse, and it’s still an uphill battle for comics. There are preconceptions about this art form that invite attacks, and we need to work to defend against that. I want creators and publishers to be free to put out what they want to put out, and for retailers to sell it without fear of prosecution, for readers to travel with their books without fear of incarceration. The CBLDF isn’t just about raising money in court cases. They’re about educating the population about the art form we love, and I want to be a part of that.
Current Aquaman artist Paul Pelletier has a long and varied history in comics, dating back to the late 1980s. When I learned Jeff Parker would replace Geoff Johns as the series’ writer (beginning with Aquaman #26), I was pleased that DC Comics chose to leave Pelletier on the title (as opposed to switching to a new art team, as frequently happens). I enjoy Pelletier’s take on Aquaman, and I was surprised to learn he’s not well-versed in some of the character’s earlier runs (so readers, please be sure to share your favorite runs in the comments section, since the artist asked “which runs would the Aqua-fans recommend?”). It was a unique opportunity, prior to the October 23 release of Aquaman #24, to chat with the veteran artist as he transitions from collaborating with one veteran writer to another. Plus, I enjoyed hearing about Pelletier’s appreciation of basketball legend Larry Bird.
Tim O’Shea: Once you realized Arthur would be sporting a beard again, did you draw a couple of versions of beards (goatee versus full beard) or did you and Geoff always have one look in mind when it came to Aquaman’s facial hair?
Paul Pelletier: When Geoff wrote Aquaman with the beard, it was a result of Arthur being unconscious for six months, so I figured it wouldn’t be too stylized. A full beard that wasn’t too manicured made sense to me. Now if the beard was to remain, then we might have to think about something a bit more tailored to Arthur.
Afterlife with Archie started out for me with a couple of potential negatives: I’m not a fan of horror comics, and I firmly believe the zombie subgenre has played itself out. But if there’s one factor that could make me enjoy a zombie comic, it’s the art of Francesco Francavilla.
The ongoing series, written by Roberto Aguirre-Sacasa, marks a significant departure for Archie Comics, in large part because it’s the publisher’s first direct market-only release. One has to wonder how much this will benefit the publisher, whose audience is found primarily outside of specialty stores, and whether its potential success will lead to more direct market-only titles.
But enough about the business aspects of Life with Archie; let’s focus on what makes its debut issue such a must-read. As much as the Archie line has redefined itself in recent years (the marriage storyline/titles, the introduction of gay character Kevin Keller, etc.), the use of an artist like Francavilla represents another leap. I count him among my favorite current artists for much the same reason I rave about Gabriel Hardman; When reading a story by either creator, the experience is like having a film playing in my head.
I first became aware of colorist Steve Downer due to his work on MonkeyBrain Comics’ Edison Rex. But as I quickly learned, he serves as colorist on a variety of projects, as well as artist on Dracula the Unconquered. Given the variety of Downer’s projects, I thought it would be insightful to discuss his craft with him.
Tim O’Shea: How long have you been a colorist?
Steve Downer: I’ve been working full-time as a colorist since 2009, though I started coloring as a side job much earlier, in 2007, while I worked as a T-shirt graphic designer.
I missed out on Pat Grant‘s debut graphic novel Blue when it was initially released in 2012. But now that Top Shelf has the book back in print, I got in touch with the Australian writer/artist to learn more about the 96-page book, described as “a fascinating blend of autobiography and fiction with a sci-fi twist.” The story has an interesting mix of several elements, including teenagers surfing, aliens with tentacles, conflict, bigotry and a quest for a dead body — all of which just scratches the surface of this ambitious work.
Welcome to “Report Card,” our week-in-review feature. If “Cheat Sheet” is your guide to the week ahead, “Report Card” is typically a look back at the top news stories of the previous week, as well as a look at the Robot 6 team’s favorite comics that we read.
So read on to find out what we thought about Superman, Tropic of the Sea and more.
If you love the unique books that Top Shelf publishes, Friday is the last day to take advantage of its once-a-year massive $3 sale. The sale is great for two reasons, you can acquire many of Top Shelf’s new offerings at a 50 percent discount — while also helping the independent publisher to “raise funds to ‘kick start’ a full rollout for next year.”
Some of the Top Shelf offerings to consider in the 50 percent debut category, include:
- March (Book One) by Congressman John Lewis, Andrew Aydin, and Nate Powell (which Chris Mautner reviewed in August)
- A Matter of Life by Jeffrey Brown (which I interviewed him about in July)
- God is Disappointed in You by Mark Russell and Shannon Wheeler (the authors also chatted with me in July about it)
There are other books to be had at even less than 50 percent, of course, including:
In 1987, writer Christopher Hinz released Liege-Killer, the first novel in his “Paratwa Trilogy,” although longtime comics readers may remember him for his work on the mid-’90s DC Comics/Helix series Gemini Blood. Now, more than 25 years later, Hinz has adapted Liege-Killer for comics, collaborating with artist Jon Proctor on the new graphic novel Binary, published by Ilfeld Comics.
To learn more about the project, I asked Proctor a handful of questions about Binary and working with Hinz.
Tim O’Shea: What was it about Christopher Hinz’s script that attracted you to Binary?
Jon Proctor: Binary is a graphic novel adaptation of Christopher’s novel Liege-Killer, which was first published in 1987. It went on to win the Compton Crook Award for Best First Novel and earned a nomination for the John W. Campbell Award for Best New Writer. It had a cult following for years, and even though I was unaware of the original novel I was familiar with a nine-issue miniseries Christopher did for DC comics short-lived, science fiction and science fantasy imprint called Helix. The comic, titled Gemini Blood, had similar themes to the Binary/Liege-Killer universe. Incidentally, it was also drawn by Tommy Lee Edwards, and I’ve always been a huge fan of his artwork. Stuart Moore edited the Helix mini, and he and I have been partners in crime for years. He thought I might be a good fit so he approached me with the idea for Binary. Committing to a 125-page full-color book where the entire production sits squarely on my shoulders was a little nerve-wracking, but the script hooked me on the first page. In other words, Christopher is a really talented writer! The science fiction aspect was one thing that attracted me to it but within the layering of the characters was something different and fascinating. For one thing, the idea that the main villain in the book consists of two assassins that share a soul was really something I thought would be great fun as well as a visual challenge to pull off, and it was! The script was just really fresh and the world it portrayed was enormous. I did a few pages as a try out for Christopher and our producer Etan Ilfeld, and thankfully they chose me to do the book.
It’s been five years since I last attended Baltimore Comic-Con and 10 years since I attended my first Baltimore Comic-Con — and to see how much Marc Nathan and his crew have grown the event is astounding.
As much as I would love to photograph every creator in attendance, I lack the organization and time to effectively to do that. As it is, there are people I intended to photograph or thought that I had- -but some combination of factors ended in failure in some instances (Carla Speed McNeil, Seth Kushner, Dean Haspiel, Barry Kitson, Ivan Brandon, Craig Rousseau and Mark Morales, forgive me).
My thanks to the creators who allowed me to photograph them.
While in Baltimore to attend Baltimore Comic-Con 2013, while I had some pre-con free time on Friday, I decided to visit the pop culture museum, Geppi’s Entertainment Museum. The museum, which is just down the street from the Baltimore Convention Center at Camden Station (across from Camden Yards), is owned by Diamond Comics Distributors President/CEO Steve Geppi. A majority of the museum’s holdings are from Geppi’s private collection.
In recognition of the con this weekend, admission is half off for all Baltimore Comic Con 2013 attendees on September 7-8, 2013. What follows is a series of photos I took while visiting. The collection is vast and varied–and my cell phone camera photos do not do the 16,000-square-foot pop culture museum justice.
I had just learned about the hate crime-related murder of Dwayne Jones in Jamaica when writer Steve Orlando contacted me about his Kickstarter campaign for Virgil, a crime graphic novel partially aimed at shining a light on anti-gay violence in that country. So his request for an interview was an easy one to grant. Orlando’s Kickstarter, with a goal of $15,000 and an end date of Sept. 11, aims to tell the story of Virgil, an outed cop fighting “his way across Jamaica to save his man and get revenge.” Orlando has also posted a preview of the book.
Tim O’Shea: I know Archie’s Kevin Keller partially inspired Virgil. But I am curious, how did you first learn about anti-gay violence in Jamaica?
Steve Orlando: If you’re going to fight back against the man, you’ve got to go where he lives!
But seriously, research! Once I decided to do a book with a gay couple fighting back against heterosexists and violent homophobes, I consulted Human Rights Watch reports. Originally I planned on setting the book in Africa, also the home of numerous anti-gay atrocities, but the dichotomy of Jamaica was much stronger to me. Jamaica is often seen as a vacation paradise, but for so many residents there that couldn’t be farther from the truth.
Have you ever received an unexpected gift that made you instantly happy? That’s how I felt in late April when Dark Horse announced Itty Bitty Hellboy, a five-issue all-ages miniseries by Art Baltazar and Franco (known for their Eisner Award-winning run on DC’s Tiny Titans and, more recently, Superman Family Adventures). Ahead of the comic’s debut on Wednesday, I spoke with Art and Franco about their fun-loving Aw Yeah-ification of the Mike Mignola/Hellboy universe.
Tim O’Shea: How hard was it to settle on the Itty Bitty Hellboy title?
Franco: That was pretty easy. Artie takes all the credit for that one. What title would best encapsulate what we wanted to do with the character than make him itty bitty!
Art Baltazar: Yes! We went through a few different adjectives before “Itty Bitty” won our hearts.
In interviews I typically stay away from the “how did you get started in comics” question, but periodically I’ll delve into a question about a book dedication, hopeful for an interesting answer. I was hopeful with good reason with this week’s interview with writer Sam Humphries about the new Dark Horse hardcover collection of Sacrifice, by Humphries and artist Dalton Rose. To learn the death of his father was the push Humphries needed to pursue writing comics was a moment that gave me pause.
In fact, the book itself — about Hector, who through an epileptic seizure departs from modern time and space, back to when the Aztec civilization was in its prime — stopped me in my tracks. Storytelling that maps a psychedelic journey in a coherent and fascinating manner is no easy feat, but Humphries and Rose have accomplished it. Dark Horse’s collection of the self-published series will be released Wednesday.
Tim O’Shea: On a most rudimentary level, let’s talk about the logo design for Sacrifice. Who designed it, [comics designer] Dylan Todd or Dalton Rose?
Sam Humphries: Dylan Todd. Sacrifice largely takes place in the past, but it’s not a stodgy period piece. I wanted the design to reflect a modern sensibility without ignoring the core of the story, which is the Aztec Empire. It was a difficult balance but Dylan killed it. He gave Sacrifice a “face” to people who had never seen the story.
There are certain artists who prove that their work only gets better with each new project and new issue. Such is the case with Nick Dragotta on East of West, his new creator-owned ongoing series with Jonathan Hickman.
I relish any opportunity to interview Dragotta, particularly in the same week that East of West 5#. His ability to lay out some spectacular action scenes continues to be a given in this Image Comics series, but I have also grown to appreciate his ability to develop distinctive architecture as well as engaging, yet more sedate, scenes.
In addition to discussing East of West, Dragotta also brought me up to date on Howtoons, which we talked about in our first interview in 2011. As the father of a kid who loves do-it-yourself activities, I appreciate the involvement of the artist and his wife Ingrid in a project that fosters fun, educational activities for children. To learn he has gotten creator favorites of mine, such as Fred Van Lente (no stranger to educational entertainment), Jeff Parker and Sandy Jarrell involved is just icing on the DIY cake.
Back to East of West, the artist and I also got a chance to (hopefully) satiate Comics Should Be Good’s Greg Burgas’ curiosity regarding the East of West creative process that he broached in a recent essay on reviewing the art in comics. In addition, Dragotta was kind enough to share an unlettered page from East of West #5 as well as unlettered pages from issues 2 and 4. With the first trade (collecting issues 1-5) set for release on Sept. 11, we also discuss its potential impact on audience growth. Full candor: Dragotta blindsided me with his Rob Liefeld fan club confession. Seriously, though, it is refreshing to see a talent such as Dragotta reveling in the opportunity to do creator-owned work.