Interview Archives - Page 2 of 4 - Robot 6 @ Comic Book Resources
Over the past few years, Jamie S. Rich has built up quite the library of original graphic novels with his name on them, teaming up with artists like Joelle Jones, Natalie Nourigat, Marc Ellerby, Nicolas Hitori De and others. Later this year he’ll add another book to the shelf, as he partners with Dan Christensen for Archer Coe, The Mind’s Arrow. The 148-page black-and-white graphic novel is due out in June from Oni Press.
The story involves a stage hypnotist with real psychic powers, mysterious women, secrets, murder, serial killers and talking cats. Rich and Christensen were kind enough to chat with me for our fifth anniversary about the project.
From high seas adventure to the mean streets of crime-ridden New York, writer Frank Barbiere is getting around. I already spoke to him about the future of Five Ghosts, his supernatural adventure series with artist Chris Mooneyham, and now he shares details on The White Suits, featuring the dazzling artwork of Toby Cypress. The four-issue miniseries kicks off in February from Dark Horse.
When you run out of bullets and bombs, a sword is a good thing to have at your side. Provided you take care of it, a blade can last you a lifetime — and make your lifetime longer, if you know how to wield it.
In April, Darby Pop (under the umbrella of IDW) will release The 7th Sword, a series that centers on the power of the sword even in futuristic times. Created by screenwriter John Raffo (The Dragon: The Bruce Lee Story, The Relic), The 7th Sword takes his love for Akira Kurosawa’s feudal Japanese dramas and creates a new story, set in the future.
The 7th Sword uses the filmmaker’s work as launchpad to tell the story of a itinerant swordsman named Daniel Cray, who wanders from port to port, planet to planet, until he discovers a remote settlement named ZenZion in need of saving from criminal warlords using an army of robots and mercenaries in an effort to seize the enclave’s resources. Illustrated by frequent Top Cow artist Nelson Blake II, The 7th Sword mixes samurai drama with the dirty, lived-in worlds of a space frontier.
ROBOT 6 spoke with Raffo about this comics debut, the inspirations for the story, and of course, the series itself. Darby Pop has provided us with four exclusive pages from The 7th Sword #1.
There are challenging characters, and then there is Hello Kitty. She’s a familiar face, but nobody really knows anything about her. She doesn’t appear to have a backstory. She doesn’t even have a mouth. And here she is, starring in her own graphic novel.
Jacob Chabot is one of several creators behind the Hello Kitty graphic novels published by Perfect Square, Viz Media’s kids’ imprint. He’s an old Viz hand at this point, having illustrated two of the publisher’s Voltron graphic novels, and his other work includes stints at Marvel (including the X-Babies comics), SpongeBob SquarePants comics, and his two-volume all-ages graphic novel The Mighty Skullboy Army, which is truly laugh-out-loud funny for adults as well kids.
Not only is Hello Kitty the tabula rasa of comics characters, the stories are wordless as well, which presents a whole different set of challenges. We asked Jacob to let us in on some of the details of writing the Hello Kitty story — and check out our preview of Hello Kitty: Delicious! after the interview.
The story, originally published as a short story in Gaiman’s 1998 collection Smoke and Mirrors, is set on the streets of Los Angeles, where a lost angel tells a stranded traveler about being sent by God to solve the mystery of another angel’s murder — and to exact vengeance for the crime.
The graphic novel version, initially published in 2002, was described by Publishers Weekly this way: “Using sharp, crystalline drawings of the eternal city and ribbons of color that suggest creation’s simultaneous plasticity and solidity, Russell conveys a bright, illuminated world of purity and divine experimentation. His crisp and vividly rendered drawings capture the haunting sense of loss and isolation Gaiman expresses in this mythic tale of love and jealousy.”
Russell and Gaiman famously collaborated on The Sandman #50, “Ramadan,” and on The Sandman: Endless Nights story “Death and Venice”; the artist also adapted Gaiman’s prose works The Sandman: The Dream Hunters, One Life Furnished in Early Moorcock, Coraline and The Graveyard Book for comics. Russell’s adaptations of Oscar Wilde’s fairy tales are currently being published by NBM.
Last year for our fourth anniversary I spoke with Frank J. Barbiere and Chris Mooneyham, the creative team behind Five Ghosts. After running a successful Kickstarter campaign, the duo was preparing for the launch of the miniseries at Image Comics.
And here we are a year later and a lot has happened with Five Ghosts, which has gone from a five-issue miniseries to an ongoing series. I caught up with Barbiere to discuss the comic’s success, their plans for future issues and more. Also watch for my separate interview with Barbiere about The White Suits, a comic he and Toby Cypress are launching at Dark Horse.
You’ve seen them at amusement parks and train stations, and perhaps even glimpsed some makeshift ones at weddings and other large social functions. Photo booths have been a part of Americana for generations, despite digital technology threatening to make them a relic of yesteryear. Still, most of us give them little thought beyond the opportunity to get a quick picture taken.
Not so with Meags Fitzgerald. The Canadian artist has been obsessed with the technology, history and aesthetics of photo booths for years, and she’s managed to turn her interest into a graphic novel, Photobooth: A Biography, which will be released in May by Conundrum Press. As you might expect, it delves deeply into the history of the device, its significance and what is being lost in the move to digital.
I interviewed Fitzgerald by email last week about her upcoming book and abiding love for this disappearing technology.
When I was a kid growing up in the United Kingdom in the mid-’70s, it seemed like all the comics I read had flamboyant and entirely fictional editorial staff. DC Thomson’s Warlord was purportedly edited by Sir Peter Flint, who was also the lead character in the comic. His nephew Fireball (yeah, I know!) similarly “edited” the publisher’s other action anthology Bullet. Looking back, this tradition was something of an affront. Sure, it seemed like innocent fun and games, but given DC Thomson’s longstanding corporate failure to credit creators by name for their work, it begins to seem more sinister.
I’ve since heard the theory that the art assistants at DC Thomson in Dundee, Scotland, were so scrupulous about whiting out the signatures artists tried to sneak onto their pages because of paranoia that IPC in London would poach their best talents. That had happened before, in 1964, when the great Ken Reid and Leo Baxendale changed sides and caused a massive shift in the balance of power between the Big Two of U.K. comics. Hiding your editorial staff behind fictional identities seems more threatening from the position of adulthood and hindsight: The publisher is saying we can replace you and no-one will even notice! How’s that for job security?
While the original 2002, five-issue miniseries was in color, the 128-page trade collection ($19.99) will be in black and white but will feature two new pages by the Love and Rockets co-author.
ROBOT 6 readers with good memories might recall that I wrote about Grip earlier this year, lamenting that it was, to my knowledge, the only work by Hernandez that had never been compiled into book form.
To describe Grip’s plot takes some effort, as this is one of Hernandez’s more surreal and deliriously and wacky stories, involving a wide cast that includes an amnesiac young man, a pair of police detectives, a trio of Amazonian adventurers, another trio of gun-wielding gangsters, a sweet little old lady, a dwarf couple and a little girl with an eyepatch. As I wrote in May:
The story begins with the amnesiac young man wandering around a nondescript city and being assaulted by some of the people mentioned above for reasons that are murky at best. The story takes an even stranger left turn, however, when the man literally loses his skin at the end of the first issue and starts walking around beaches spouting seemingly half-remembered phrases. The skin starts to take on a life of its own as well.
2013 has blessed us with a bumper crop of great books by Hernandez that includes the critically acclaimed Marble Season and Julio’s Day, as well as Children of Palomar and Maria M. With Dark Horse planning to release Grip in addition to the collected edition of his more recent Fatima miniseries, it seems as though 2014 will continue that trend well into the new year.
I talked with Hernandez over the phone a few days before Thanksgiving about the new collection, the not-so-secret origins of Grip, and what else he’s working on.
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.
Cameron Stewart is best known for his work with Ed Brubaker on Catwoman and with frequent collaborator Grant Morrison on Batman and Robin, Seaguy and Seven Soldiers. But over the past six years, he’s also struck out on his own, writing and drawing the neo-noir mystery thriller Sin Titulo, a webcomic that’s earned the cartoonist an Eisner and a Shuster award.
Dark Horse published a print collection of the series in September, introducing Sin Titulo to a new audience. In support of that release, Stewart embarked last month on a 13-city tour that’s taking him across Canada and the United States before ending up in England. Ahead of tonight’s stop at Challenger Comics + Conversation in Chicago, guest contributor Dave Scheidt spoke with Stewart about the origins of the largely improvised Sin Titulo, the series’ place within the worlds of print and webcomics, his eventual return to Seaguy, and his plans for a fantasy epic called Niro.
Note: A shorter version of this interview originally appeared on The Huffington Post.
His work might have a rushed, “dashed-off” look to it at times, but don’t kid yourself: Frank Santoro puts a lot of time and consideration into his comics. In fact, it’s safe to say he puts more thought into the overall structure and design of his pages than a lot of his contemporaries, as anyone who has read his “Layout Workbook” series of posts on TCJ.com can attest.
Santoro’s latest comic, the stand-alone graphic novel Pompeii, deals quite overtly with issues of art and craft, as it follows the story of aspiring ancient Roman artist Marcus who’s slaving away as an assistant to the more established painter Flavius (who has his own problems). Marcus is at something of a crossroads, frustrated by his slow progress under Flavius’ tutelage, but unwilling to move back home or reconsider his options, despite the pleadings of his girlfriend, Lucia. As you might expect given the book’s title, things come to a head quite violently with the eruption of a nearby volcano.
Overall Pompeii is a fast-paced but moving, almost tender at times, work, that begins almost as a sex farce but quickly turns into a more considered and elegiac consideration of careers, youth, love and the purpose of art and artistry in our lives.
I talked with Santoro recently about his new book and its conception.
Last year, Archie Comics Editor-in-Chief Victor Gorelick and comics historian Craig Yoe compiled The Art of Betty and Veronica, the first art book ever released by the nearly 75-year-old publisher. Now they’re back with another deluxe, oversized volume, The Art of Archie: The Covers.
Like their previous book, this is more than just a series of pretty pictures. They kick it off with a look at how a cover is created, contrasting an original sketch by writer George Gladir with a finished cover, then showing the different states of another cover — line art, proofs, and finished product. They also include sections focusing on the individual artists, with a photo of each artist, a brief bio and a sample of his work.
I talked to Gorelick and Yoe about what went into compiling the book — and what went into creating the Archie covers in the first place. Gorelick, who’s been with the company for more than 50 years, drew on his own reminiscences about the way things used to happen behind the scenes.
Brigid Alverson: I’m going to start with the obvious question: Why covers?
Victor Gorelick: All of our covers tell a story. It’s not just some superhero flying around in some poses; you get a gag on the cover. It’s a little bit extra for your money.
Craig Yoe: They are closer to a New Yorker cartoon than a typical comic book cover that is maybe just a scene of action. These do have a nice little scenario and setup and payoff.
Gorelick: And also, we didn’t just paste in a bunch of covers. I have seen other cover books where you just see one cover after another. There’s a little more background on the covers. There are covers that were chosen by our fans — we put something up on the internet and we asked them to let us know what their favorites are.
If Andrew MacLean has his way — and your help — heads will lop once again.
Earlier this year MacLean self-published Head Lopper #1, an action-filled tale of one viking’s quest to decapitate monsters, and the annoying severed witch head that he drags along with him. It was a great introduction, but not near long enough … which is something MacLean hopes to remedy. He’s currently running a Kickstarter so he can publish issue #2, which promises more pages, more head-lopping and more of that evil witch head.
I spoke with MacLean about both issues of the series, as well as his tale in last Wednesday’s issue of Dark Horse Presents and much more. My thanks to Andrew for his time.
JK Parkin: For those who may not have heard of Head Lopper, can you give a few details on what it’s about and how it came about?
Andrew MacLean: Head Lopper follows nomadic Viking warrior Norgal and his companion, the severed heard of Agatha Blue Witch. When they aren’t bickering and torturing each other, they are traveling about beheading monsters or whatever or whomever might get in their way.
Head Lopper actually originated from a Brand New Nostalgia piece I did. The theme that the members had chosen for the week was “Viking” and I just had so much fun with it I just knew I had to run with it. So I redesigned that same character a little bit, including the severed head he was originally pictured with and started putting together some rather simple classic-feeling stories for the unlikely pair.
In 2011, Vito Delsante left the relative comfort of a full-time job at Jim Hanley’s Universe to pursue a career in writing comics. While he’s no stranger to that side of the medium, having written titles like the self-published FCHS and DC’s Batman Adventures, this year could prove his most ambitious, as he has two projects in the works — World War Mob from New Paradigm Studios, with artist Giancarlo Caracuzzo, and Stray, currently up on Kickstarter, with artist Sean Izaakse.
I spoke with Vito about both projects, as well as his comic-reading history, what he learned as a retailer and more.