Tim O'Shea, Author at Robot 6 @ Comic Book Resources - Page 5 of 25
This morning we posted the Bryan J. L. Glass and Victor Santos‘ prequel to their new Dark Horse series Furious, which debuts Jan. 29. In preparation for the issue’s release, ROBOT 6 spoke briefly with the creators, in the process discovering the character had been percolating in Glass’ mind (on some level) for more than 20 years.
Tim O’Shea: Once you learned you could run a short prequel Furious story in Dark Horse Presents, how did you two settle on what story you wanted to tell?
Bryan J.L. Glass: It was the perfect opportunity for the series as a whole! The moment chronicled in those eight pages has always been part of the character’s back story. It’s how she gets her name. She’s seeking personal redemption through super powers, so there was no way she was ever going to call herself “Furious.” She intended to be “The Beacon,” as a name representative of her desire to inspire others. Yet despite her best intentions, her actions scream louder than her words, and the world — or in this case a television reporter — dubs her accordingly. It’s an important moment. So as soon as we received the green light to introduce her via a DHP short story, I knew I could then remove it from Issue 1. Let it be referenced. It’s the terrible thing that happened on the day this superheroine tried to go public, and now she’s trying to move forward with baggage she never intended; a microcosm of everything that drives her to be a heroine in the first place.
Continuing with our annual “Looking Forward, Looking Back” feature for our big fifth anniversary, we asked various comics folks what they liked in 2013, what they’re looking forward to in 2014, and what projects they have planned for the coming year. In this edition, hear from Steve Orlando, Chris Roberson, Nick Dragotta, John Arcudi, Janet K. Lee, Kathryn Immonen, Lauren Sankovitch, Scott Allie, Valerio Schiti and Natalie Nourigat.
Wednesday sees artist Matteo Buffagni teaming with co-writers Kelly Sue DeConnick and Warren Ellis on Avengers Assemble #22, a tie-in to Marvel’s “Inhumanity” event. In addition to chatting about that, Buffagni was kind enough to share a glimpse into his design process for June Covington/Toxie Doxie’s new costume, revealed at the end of Avengers Assemble #21.
Tim O’Shea: For those unfamiliar with your career, how long have been working in comics?
Matteo Buffagni: I’ve been working at Marvel since 2010, when I started on X-23 then jumped on Daken, Ultimate Iron Man: The Demon in the Armor, Astonishing X-Men and now Avengers Assemble.
Before those assignments I attended the International School of Comics in Florence and worked on a couple of French books called Vestiges.
As part of All-New Marvel NOW!, veteran artist Lee Garbett will team in February with writer Al Ewing for Loki: Agent of Asgard, a series the god of mischief is fully grown and in the service of the All-Mother. More immediately, however, Marvel is setting the stage for the initiative with All-New Marvel NOW! Point One #1, a one-shot that arrives Jan. 8 with a Garbett-drawn Loki serving as the thread that brings together all of the stories.
In my interview with Garbett, the artist clearly relishes the opportunity to draw Asgard’s new “one-man secret service” as well as work with Ewing. ROBOT 6 is also pleased to provide an exclusive page from the upcoming All-New Marvel NOW Point One.
We’re taking a break from ROBOT 6’s exclusive new serialized Sixth Gun tale for a brief chat with creators Cullen Bunn and Brian Hurtt about, among other topics, the release last week of the oversized-hardcover collection of their Oni Press supernatural Western.
Given that the book includes the Christmas short story “Them’s What Ails Ya!” and the strip on ROBOT 6 takes place during the holiday, I was curious to learn what draws them to that setting. Sixth Gun fans will also be happy to learn there’s a new limited series planned, and, more immediately, The Sixth Gun: Sons of the Gun trade paperback arrives next week.
Few have a better perspective on the making of the Broadway musical Spider-Man: Turn Off the Dark than playwright Glen Berger. He spent six years co-writing the script and has now penned a tell-all memoir about the tumultuous experience, Song of Spider-Man: The Inside Story of the Most Controversial Musical in Broadway History.
As noted on the book’s back cover, one scene — in which “Green Goblin pushes a Steinway off a skyscraper only to be sent to his own death because he didn’t realize he was attached to the piano by Spider-Man’s webbing” — earned him the job, but it also would ultimately lead to the dismissal of director and co-writer Julie Taymor.
We cover a great deal of ground in this interview, including a brief discussion of (as he mentions in the book) his reaction to sharing a co-writer credit for the play with Roberto Aguirre-Sacasa, who worked on the project for just two months. It was interesting to get Berger’s perspective, particularly when comparing what it’s like to develop for theater as opposed to television. I’m also curious to see what musical he’s developing for Warner Bros.
Earlier this month ROBOT 6 noted that Portland, Oregon-based artist Steve Lieber appeared in a Travel Portland ad piece to promote tax-free shopping in the city. Seeing the piece made me want to know more about how Lieber became involved and what was the experience was like. Fortunately, Lieber, who’s now working on The Superior Foes of Spider-Man, was able to answer my questions in a brief interview.
Tim O’Shea: How did you get tapped to do the commercial? Did you have to submit art samples before getting cast?
Steve Lieber: The agency was familiar with my work before contacting me. It was simultaneously flattering and surprising.
You may know Christy Blanch from her recent investment, along with her partner Mark Waid, in Alter Ego Comics in Muncie, Indiana, her comics education work, or her collaboration with Chris Carr, Chee and Troy Peteri on the Thrillbent series The Damnation of Charlie Wormwood.
While the comic about a college professor in a dangerous partnership for the sake of his family is on hiatus, that’s about to end. Blanch and I discussed all three aspects of her busy career in this interview.
Tim O’Shea: Judging from the store’s Facebook page, it’s pursuing a great deal of community outreach. Are you seeing new faces shopping in the store as a result?
Christy Blanch: Mark, Jason [Pierce, the initial owner] and I are all about creating community. We want to give people a reason to come here to shop. We want them to feel like this is their clubhouse to come in and hang out, talk comics, and just be themselves. We are seeing lots of new faces. The old location was a nice store, but we really were hidden. Downtown we are very visible and we see new people every day which is a great feeling. I love it when I sell someone their first comic book especially if it is a series that I love. I always tell them I envy them because I would love to ‘forget’ the book and be able to read it for the first time again.
Long before we worked together, I respected Kevin Melrose’s instincts on picking creators to watch. So when he advised the Robot 6 audience to read Victor Santos‘ webcomic Polar, I was intrigued. That interest only grew when Jim Gibbons (one of the best editors working in comics) told me Dark Horse was collecting Polar’s first season in Polar: Came from the Cold (which ROBOT 6 previewed in late September); I knew I wanted to interview the Bilbao, Spain-based artist.
In addition to discussing the 160-page Polar hardcover, set for release on Dec. 11, we also touched upon the upcoming Furious, a Dark Horse miniseries with his Mice Templar collaborator Bryan J.L. Glass, set to launch on Jan. 29. (For additional Furious information, please read Albert Ching’s September interview with Glass.)
Tim O’Shea: You are very clear at your website in terms of the influences that inform Polar: Came from the Cold. “The story uses a minimalistic and direct style inspired by movies like Le Samurai (Jean-Pierre Melville, 1967), Tokyo Drifter (Seijun Suzuki, 1965) or Point Blank (John Boorman, 1967) and novels like The Killer Inside Me (Jim Thompson, 1952) or The Eiger Sanction (Trevanian, 1979). Polar is also a tribute to artists like Jim Steranko, Jose Muñoz, Alberto Breccia, Alex Toth and Frank Miller.” I would love to discuss each and every element of those sentences, but I will just focus on two elements. How did you first find out about films like Le Samurai? When did you read your first Steranko story, and what was it?
Victor Santos: The first Steranko book I read was the Outland adaptation. I was studying fine arts, and I hadn’t really had a great deal of exposure to U.S. comics. I’d read a lot of superheroes books in my childhood, but the manga explosion of the ’80 and ’90s caught me just in my teenage years. Actually, it was during my university years when I discovered the great U.S. artists like Eisner, Ditko, Crumb, Toth, Caniff and dozens more (thanks to friends I met there, never the professors). I discovered an old Spanish edition of Outland in a street market. Wow, that stuff blew me away! The big panels contrasting the little panels, as well as that “heavy black lighting” … This edition was a big, European album size, so the double-page spreads are gigantic. I began to research. These were very intense years for me; I was absorbing all the American history of comics at the same time.
Dec. 11 will see the release of the latest collaboration between artist Natalie Nourigat and writer Jamie S. Rich, A Boy & a Girl, a 160-page sci-fi romance. Published by Oni Press (Diamond Order Code: JUL131213), the graphic novel is a futuristic story that considers an Earth where life-like androids are becoming just as common as real humans, and where a guy named Travis decides he just has to get a date with a girl named Charley. That spark of interest leads to a whole slew of quirky turns and revelations. I recently caught up with Nourigat, who’s normally based out of Portland, Oregon’s Periscope Studio but is spending a year in France, to discuss her latest work. To get a slice of the story, be sure to check out Oni’s 10-page preview.
Tim O’Shea: Was there any specific element in particular about Jamie S. Rich’s script that persuaded you to want to draw the story?
Natalie Nourigat: I wanted to draw the story before I even knew what the story was, because I wanted to work with Jamie again. He was really open to collaboration, and from the beginning he invited me to suggest elements that interested me to steer us into something that would be fun for both of us. I wanted a time-travel story, and then a futuristic sci-fi setting, and then the split-perspective angle as things progressed.
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.