Interview Archives - Robot 6 @ Comic Book Resources
Earlier this year, the small publisher Oily Comics suspended its subscription service. But it’s back, with Publisher Charles Forsman (creator of TEOTFW) tweeting Sunday that Oily is offering a new spring bundle that will be out in March. It’s available for pre-order now, and the full bundle is limited to 200 copies.
I checked in with Forsman to see what the story is with Oily and get some details on the new bundle.
Brigid Alverson: What’s going on with Oily Comics? Are you changing your business plan? How is this different from the way you were doing things before?
Charles Forsman: I stopped the subscriptions at the end of last year. I was feeling a bit burnt out at the time. It was a combination of my mental state and I was beginning to feel like I was just going through the motions with the monthly comics. So I put it on hold so I could crawl into my hole and get through my winter depression and decide what Oily would look like in the future. So, I am trying this bundle idea. I think I was inspired a bit by the humble bundle service. They do a pay-what-you-want bundle of video games. I thought it could work for Oily so I’m giving it a shot. Plus it satisfies a goal that the subscriptions had which is the simple idea of getting someone for Oily because they like a certain artist. But they will also be exposed to cartoonists they have not read before. I would love to do a pay-what-you-want but that just doesn’t work for physical comics so well.
Declan Shalvey’s friendship with Stephen Mooney stretches back nearly a decade, to before either Irish creator was well known in the United States. So when the Moon Knight artist pitched ROBOT 6 the idea of interviewing Half Past Danger creator Mooney about the hardcover collection, arriving Jan. 29 from IDW Publishing, we didn’t hesitate to say yes, thinking the conversation would offer terrific insight into their relationship, their careers, the Irish comics scene and, of course, Mooney’s Nazis vs. dinosaurs adventure.
As it turns out, we were right.
There’s been a wealth of children comics available recently, but I feel pretty safe in saying there hasn’t been anything quite like Kevin Scalzo‘s Sugar Booger. At least, I haven’t seen any comics involving a large, boisterous, bright blue bear with the uncanny ability to make delicious candy spew forth from his nose.
Although he’s been a part of the alternative comics scene for several decades now, Scalzo is jumping into serialized waters with the release of the first issue of this ongoing series (two more issues are planned for 2014) from Alternative Comics.
Combining a DayGlo pop sensibility with some Margaret Keane-like eyeballs, a dash of (PG-rated) underground grotesquery, and a dollop of Casper the Friendly Ghost for good measure, Sugar Booger is a rather tart confection that, while perhaps not for all tastes, will be appreciated by those who like a salty edge to their confectioneries.
I talked to Scalzo over email about the new comic, writing for kids, and his plans for the series.
Saturday is the deadline to get your order form for this month’s Previews catalog to your local comic book shop. With that date looming, Edison Rex co-creators Chris Roberson and Dennis Culver are hoping to make Edison Rex, Vol. 2: Heir Apparent one of the most-wanted trade paperbacks.
In fact, writer Roberson and artist Culver concocted an eye-catching wanted poster to drum up interest in the upcoming collection, which includes issues 7-12 of the Monkeybrain Comics digital series. The creative team was quite willing to discuss the latest news with me about the villain turned superhero.
Writer Justin Aclin has looked forward to today, as his Dark Horse miniseries S.H.O.O.T First comes to a conclusion with the release of the fourth issue. Four happens to be the magic number on more than one level, as Aclin notes that the storyline has been in development for four and a half years.
However, the end of the miniseries doesn’t mark the end of Aclin and artist Nicolás Daniel Selma‘s adventures with the S.H.O.O.T. First team. In fact, Aclin provided ROBOT 6 with a peek at art from the upcoming arc Dark Horse Presents, which in March with Issue 24.
As Aclin described it, “This page is the first time we’re showing art from the upcoming Dark Horse Presents story. Part 1 takes place 10 years in the past, where an earlier version of the team confronts a giant snake Outside Actor in the Everglades. You can see a younger Lord Byron taking aim here.”
Two elements of Stuart Moore and Gus Storms‘ new Image Comics series EGOs make me exceedingly eager to read the first issue: the flawed marriage at the heart of the title (automatic fodder for great drama), and a foe that’s a living galaxy.
To get a better understanding of EGOs, which debuts Jan. 15, I pelted the creators with a series of questions. Moore has a grasp of the comics medium (and its unlimited potential) in a manner few others possess, so to say it was a delight to chat with him and Storms is an understatement. How strong is EGOs? As noted in our discussion, it has Saga writer Brian K. Vaughan as its guardian angel. What more needs to be said? Well, I’m a sucker for any series with a broken-down cyborg. I needed to say that.
The comic stars a three-legged dog named Piggy, who gains super powers and fights crime. He’s actually based on Emko’s real-life three-legged dog, who has quite the origin story of his own. I spoke with Young and Emko — whose “day jobs” have included being an anti-whaling “pirate” with Sea Shepherd and the founder of Darwin Animal Doctors — about the project and much more.
New York-based cartoonist Gregory Benton has had a whirlwind of a year, with his self-published graphic novel B+F winning the 2013 MoCCA Award of Excellence and getting picked up for a joint French/English publication.
However, the ideas for what became B+F were created in the middle of Benton losing almost everything. The characters of B+F (“B” is the yellow dog and “F” is the woman) were first dreamed up by him in the aftermath of a massive storm in 2011 that flooded his studio, washing away years of his most precious art. That very real conflict of man versus nature lit a fire in Benton, leading him to doodle those two characters.
Fast-forward to today and Benton is back on top, with AdHouse Books and Éditions çà et là partnering to publish the mostly worldless graphic novel with its scheduled premiere in a matter of days.
B+F follows the titular dog and human as they trek across an otherworldly landscape of mountains, monsters, and fiery fauna. B and F face many obstacles, and find unique ways to overcome them — even sometimes involving dying and being reborn.
ROBOT 6 spoke with Benton about the unique path B+F took to creation, and how he won MoCCA’s Award of Excellence but was too busy printing the book to attend the awards ceremony.
When I set out to conduct an interview, particularly when it’s focused on one project, I usually expect the conversation to go in a certain direction. I concede that this Q&A with Zero writer Ales Kot surprised me in its ability to venture into a variety of topics, including genetic memory, synchronicity and the importance of honesty in branding.
Tim O’Shea: How early in the development of Zero did you realize you wanted to use a variety of artists?
Ales Kot: Pretty much right in the beginning, if I remember correctly. The choice was a storytelling decision and a way to work with many artists I am interested in at the same time. I believe a narrative doesn’t have to be conventional in the way it is depicted (i.e. one artist for the story) in order to achieve clear communication of itself. Clearly I am right but really how hard is that to figure out? People who read comics are smart and wonderful and hungry for new stories and new ways of telling them. We live in a world that carries easiness of sensory overload within itself and our encounters with said sensory overload can teach us how to modulate/expand our perceptions. We are mutants. My approach to Zero is that of acknowledging and embracing evolution as a gift. That is one of the reasons why a variety of artists is correct here. Another reason would be because I simply felt like it.
As part of its 2014 original graphic novel plans, Dark Horse will publish Two Past Midnight, by Duane Swierczynski and Eduardo Francisco, which pits Captain Midnight, Ghost and X against a psychopath named Tempus. In a brief interview with ROBOT 6, Swierczynski details how a change in publishing plans actually allowed him to work in more narrative cliffhangers than he might have otherwise developed.
Tim O’Shea: What can you tell readers about the cast and plot of Two Past Midnight OGN?
Duane Swierczynski: Two Past Midnight – or as the kids call it, 2PM — is a team-up of some very unlikely heroes squaring off against a freakish mind-controlling psycho who calls himself Tempus, as in “tempus fugit,” or “time flies.” Those heroes are Captain Midnight, Ghost and X, and they’re not exactly hanging out, swapping wisecracks and eating shawarma or whatever. The story is basically a nonstop carnival of violence; there is no time for shawarma.
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.
Cartoonist John Allison surprised many in 2009 when he ended his long-running webcomic Scary Go Round and soon launched Bad Machinery, which follows the adventures of two groups of child detectives in the fictional town of Tackleford, England, he established more than a decade earlier in his first online strip Bobbins.
Allison is the first to acknowledge those first months were rocky for the kids of Griswalds Grammar School, with a number of Scary Go Round readers abandoning the new comic, despite its familiar setting. But four years later, it’s a different story for Bad Machinery, which in 2012 won a British Comic Award; the first print collection, released last spring by Oni Press, was named by Publishers Weekly as one of the best children’s books of 2013.
With a second volume, “The Case of the Good Boy,” set to arrive in March, Allison took some time during the holidays to talk with ROBOT 6 about finding an audience, making the jump to print, returning to Bobbins and what the future holds for Bad Machinery.
Over the past few years, Brad Meltzer has become one of the pinch hitters of comics.
Although his day job as a bestselling suspense novelist and TV host of History’s Decoded has kept him from taking on an extended comics project since 2006′s Justice League of America relaunch, Meltzer has stepped in for a number of comics projects over recent years, including an arc on Joss Whedon’s Buffy the Vampire Slayer: Season 8 and a recent short in Art Baltazar and Franco’s Aw Yeah Comics.
Next up for the writer is a special contribution to DC Comics’ Detective Comics #27, arriving next week. The spiritual heir to the first appearance of Batman will clock in at more than 100 pages to kick off DC’s 75th anniversary celebration for the Dark Knight, with contributions by Scott Snyder, John Layman, Mike W. Barr and more creators from the character’s past and present. And for his part, Meltzer will team with artist Bryan Hitch to retell “The Case of the Chemical Syndicate,” the Bill Finger/Bob Kane short that began the Batman legend in 1939’s Detective Comics #27.
We spoke with Meltzer about the legacy of the original story and the challenges of bringing it into the modern era – and not for the first time – while DC shared an exclusive first look at Co-Publisher Jim Lee’s variant cover for the issue.
Dean Haspiel is one of the most visible creators working in comics today, and his style is equally recognizable, whether he is creating superhero comics or his own Billy Dogma stories at ACT-I-VATE, the webcomics site he co-founded in 2006.
Even when he’s working on someone else’s property, Haspiel has a way of making it his own, and this is particularly true of his revival of The Fox for Archie Comics’s Red Circle imprint. One of the earliest superheroes in comics, The Fox made his debut in 1940, back when the publisher was still called MLJ Comics, and has resurfaced several times since then; a new version of the character appeared in the 1980s in Blue Ribbon Comics and Mighty Crusaders.
In Haspiel’s hands, The Fox is a reluctant superhero, a “freak magnet” who can’t avoid getting into trouble but won’t run away from a fight. The third issue of the series, scripted by Mark Waid, arrives Jan. 8; Haspiel will be doing a signing that day at Forbidden Planet in New York City. We talked to Haspiel about his version of The Fox, and Archie sent along some art from Issue 3 to go with it.
Now the 49th state can add at least one name to its roster, Anna Bongiovanni. The Fairbanks native, now transplanted to Minnesota, released her debut Out of Hollow Water through the small-press publisher 2D Cloud. It’s a rather haunting trio of short stories, told in simple, one-panel-per-page fashion, to detail various emotional, familial and even sexual trauma. Bongiovanni, however, relies upon folklore and fairy-tale tropes to give her stories an eerie, otherworldly feel that makes these stories both alien and universal at the same time. It’s a pretty impressive debut.
I talked with Bongiovanni over email during the holidays about her new book and its origins.
Chris Mautner: First of all, tell me a little bit about yourself. Where are you from? How did you get interested in drawing? How were you introduced to comics and what made you decide to start making your own?
Ann Bongiovanni: I was born and raised in Fairbanks, Alaska. I never got into comics until my parents just happened to buy an Archie comic from the grocery store. Then I was hooked, like obsessed, with Archie comics. Luckily, I calmed down and – while Archie holds a special nostalgic place in my heart – I am not nearly as crazed about the series as I once was. For a few years, I attended the University of Alaska Fairbanks, and tried to major in elementary education, but all I ever did was draw comics. It’s what I did in-between homework assignments and during lectures. Instead of going to parties, I was drawing in my dorm room alone. I don’t really know what that says about me (yikes), but I couldn’t really think about anything other than telling my own stories. It didn’t help that I really dislike children and wanted nothing to do with them. My parents convinced me to try attending the Minneapolis College of Art and Design in 2007 and get a BFA in comic art, and I’ve been drawing comics ever since.