EXCLUSIVE: Grodd Strikes in New "The Flash" Photos
Joshua Williamson and Andrei Bressan have a fun series going with Birthright. Debuting in October from Skybound, the fantasy is in the middle of its first arc, introducing Mikey, a boy from our world who crossed over to a fantasy world at age 10, only to return a year later as a 30-year-old warrior hero. After a rocky reunion with his family — his father Aaron, his mother Wendy and his “older” brother Brennan — Mikey escaped police custody and went out on the road, on a mission to take out five evil wizards who found their way into our reality.
However, not all is as it seems: Mikey is under the influence of the Nevermind, an evil presence at the core of problems in the other world, and his mission is anything but transparent.
ROBOT 6 spoke with Williamson about the direction of Birthright, balancing different aspects of the story, and the importance of choice and family as the series moves forward. Skybound also provided us with exclusive pages from Issue 4.
Best known to U.S. audiences for his work on Blue Beetle and his collaboration with Scott Snyder on American Vampire, artist Rafael Albuquerque is exchanging the world of superheroes and the supernatural for the Meld, an inhospitable dimension littered with, in his words, “temporal garbage.”
It’s the setting of Ei8ht, the creator-owned miniseries Albuquerque co-wrote with Mike Johnson (Supergirl), debuting Feb. 18 from Dark Horse. Based on the artist’s Brazilian webcomic Tune 8, the five-issue series centers on a chrononaut named Joshua who takes on a suicide mission to save his dying wife, only to find himself trapped in the Meld with little memory.
Albuquerque spoke with ROBOT 6 about the evolution of Ei8ht, his love for science fiction, and his creative goals for the series. He also shared an exclusive preview of the first issue.
Among the critically acclaimed series from Monkeybrain Comics, Amelia Cole by D.J. Kirkbride, Adam P. Knave and Nick Brokenshire stands out as one of the more successful. By success, we mean the creators’ ability to consistently produce digital releases of individual issues, followed by collected editions release through IDW Publishing.
To date, Amelia Cole has produced 19 issues (with the 20th arriving this month), and three trade paperbacks: Amelia Cole and the Unknown World; Amelia Cole and the Hidden War; and Amelia Cole and the Enemy Unleashed. In terms of digital releases, Issue 20 will mark the second part of Amelia Cole and the Impossible Fate.
As part of this interview about the series, Kirkbride and Knave shared an early look at pages from the next issue.
Mythology is the intellectual gateway that’s gotten many readers interested in becoming a writer or artist. But few are as passionate about the subject as George O’Connor, creator of Olympians, the 12-book series from First Second recounting the Greek myths. This month, he releases one of the volumes he’s clearly looked forward to since first embarking on the project: Ares: Bringer of War.
Ahead of the book’s release, O’Connor spoke with ROBOT 6 on what appeals to him about mythology and these characters in particular, and the challenges of adaptation. He also recounts how became friends with Age of Bronze creator Eric Shanower not through their shared fondness for classical mythology, but rather a mutual appreciation of Oz.
Andrew MacLean is one of many artists I’ve enjoyed following over the past few years, from his self-published work on the two volumes of Head Lopper to his collaborations with writers like Jim Gibbons, Nolan T Jones and Jamie Gambell. This year he’ll be hitting comics in a big way with the release of ApocalyptiGirl, a graphic novel about a girl, a cat and an apocalypse.
Due out May 20 from Dark Horse (and listed in the current Previews), ApocalyptiGirl is both written and drawn by MacLean. I spoke with him about the book, as well as his plans for more Head Lopper.
Terror Assaulter: O.M.W.O.T. (One Man War On Terror) is a tongue-in-cheek action comic about a highly skilled government operator who takes on a group of … oh, what does it really matter who the bad guys are? Bottom line, they’re bad guys, and O.M.W.O.T. is more than happy to chop, kick, shoot and otherwise eradicate them from existence. As Fantagraphics puts it:
Since they signed an exclusive five-year contract with Image Comics last year, the crime-comics duo of Ed Brubaker and Sean Phillips have been rolling out newer, weirder stories with the finale of Fatale and their latest Hollywood noir The Fade Out.
But at the end of this month, they’ll return to their biggest project, the anthologized yet interconnected neo noir series Criminal. Originally published though Marvel’s Icon imprint beginning in 2006, the series returns on Jan. 28 with a one-two punch of Coward, the first Image Comics trade collection, and an all-new magazine-sized one-shot titled Criminal: Savage Edition.
We caught up with Brubaker about the return of Criminal, the one-shot’s mix of prison life and ’70s genre comics, and the future of his partnership with Phillips.
ROBOT 6: You’ve spoken a lot about picking up new readers with each project you’ve launched at Image, and because it’s been a few years since you and Sean did a brand-new Criminal volume, I thought we’d start with the basics. How do you describe Criminal to those who haven’t read it? It’s a series with a high concept behind it, but it’s not one of those “It’s The Big Sleep … in Space!” kind of high concepts.
Ed Brubaker: It really doesn’t have a high concept, does it? I usually just lean on saying it’s won a bunch of awards and is critically acclaimed, because I don’t know how to “one-sentence” it. But let’s try …
Priya’s Shakti is a comic that aims to change the world, or at least, one part of it.
The creation of writer Ram Devenini and artist Dan Goldman, Priya’s Shakti uses elements of Indian religion and mythology to take on the difficult topic of rape and send a strong message that it’s a crime and the victim is not to be blamed for it. The comic tells the story of a rape survivor who’s cast out by her family, a situation that angers the gods; the resolution comes with a call to action.
The comic is available for free on comiXology and debuts in print this week at the Mumbai Film and Comics Convention. However, it’s not limited by the usual distribution structures: As Devenini explains to ROBOT 6, the creators have partnered with the Indian charitable trust Apne Aap Women Worldwide to get the title out to girls in classrooms and communities far from comics shops. They also painted street murals in Mumbai that include an augmented reality feature; when viewed with a smart phone, parts of the murals are animated.
I spoke with Devenini and Goldman about making the comic, the special features, and how they plan to spread the word.
Zak Sally’s Recidivist IV was one of the most difficult comics I’ve ever read. I don’t mean that in an aesthetic or emotional or abstract sense. I mean it was physically difficult to read, as I frequently had to hold the comic at odd angles, or directly up against sunlight to be able to read certain sentences.
That’s entirely intentional. Sally uses bright metallic inks, intricate, overlapping patterns and more to make the type difficult to discern, if not as downright enigmatic as the accompanying images. Containing short stories (although they feel more like essays or simple declarations at times) about characters at life-altering crossroads, and accompanied with a CD of drone music, Recidivist IV is generally what you thinks of when you hear the phrase “a challenging work.” As he noted on his blog, it certainly isn’t a “passive, easy reading experience.”
It might also be one of the best comics of 2014, smart and elegant and breathtaking, a comic that forces you to engage with it but rewards you with its tightrope act as the reading experience and the content cohere into a breathtaking whole.
On one level, Eric Orchard’s Maddy Kettle: The Adventure of the Thimblewitch is a classic adventure tale about a girl who has to go find the witch who turned her parents into kangaroo rats, in order to undo the spell. The art is reminiscent of children’s fantasy tales, and Maddy meets a fanciful assortment of friends and foes along the way. However, after reading Orchard’s recent tweets about his experiences with mental illness, I realized there are many layers to this story.
I asked Orchard if he would discuss the way his experiences with mental disorders — his mother’s schizophrenia and his own depression and anxiety — have influenced his storytelling.
Brigid Alverson: How has mental illness affected your life?
Eric Orchard: My mother always suffered terribly from schizophrenia, but when my father died, when I was 2, she fell apart. Most of my childhood was my mother struggling to keep herself together. In retrospect it seems like a heroic feat; even though I suffered somewhat, she overcame things that I find astounding. She had reserves of strength and compassion that saw us through. She was battling fears and terrifying visions so that I could have some kind of normal life. Really, there was only so much she could do. What I recall most was the antipsychotics causing her to sleep most of the day. With no siblings or father, I was alone a lot. These were times I started writing and drawing. I had hours to tell elaborate stories and build worlds. I was taught to read very young by an aunt, and that also helped.
Jonathan Baylis recently published the seventh issue of his annual minicomic So Buttons, a collection of short, autobiographical stories, written by Baylis and illustrated by a variety of artists. They range from lighthearted anecdotes about his years in the comics and entertainment business (he started an internship at Marvel the day Jack Kirby died, and later worked for Valiant and Topps) to heartfelt stories about discovering beauty, confronting death and fighting his inner demons.
I first met Baylis (as he correctly remembers in this interview) last year a the Toronto Comic Arts Festival, although I was reading So Buttons before that. We have kept in touch since then, and it’s always a pleasure to run into him at a show. When he told me that So Buttons #7 was about to go live on comiXology, it seemed like an opportune moment for an interview about his work and his experiences as a minicomics creator. He not only answered my questions with gusto, he sent along a ton of art and a full-length So Buttons story about an encounter with John Romita Sr. (below).
After lifetimes spent conquering alien species, what happens when a race of humanoid bugs finds itself about to die out, and is forced to work with others to survive? That’s part of the premise of Colonial Souls by Nolan T Jones and Andrew MacLean, a four-issue science fiction series Jones is self-publishing digitally.
The first issue arrived earlier this month, and the second went live this morning on the comics’ website (where you can also find previews of both issues). In addition to buying single issues, you can also get a price break by opting to purchase a subscription to the full series.
I spoke with Nolan about the comic, its distribution method and his other projects, including the role-playing website roll20.net.
Debuting in September 1984, the hugely popular cartoon was developed by World Events Productions, a small television production company based in St. Louis, Missouri. Several WEP executives had gone to a licensing convention and saw three Japanese shows they thought would do well in the United States. They requested the master tapes of all three, but Toei Company sent the wrong tapes for one of them, interpreting the request for the “one with the lion” as Beast King GoLion, although the WEP team had actually meant a different show. Ted Koplar, president and CEO of WEP, liked what he saw, recalling, “There was a human side that grabbed me.” Indeed, it became the most popular Voltron cartoon, Lion Force Voltron.
Last month, Viz Media released Voltron: From Days of Long Ago, a 30th anniversary commemorative book that includes a behind-the-scenes history of the show, photos of the many Voltron toys, and a guidebook to the characters and storylines. I spoke with Traci Todd, senior editor for children’s publishing at Viz and a huge Voltron fan herself, and Beth Kawasaki, senior editorial director, about went into the making of the book.
I spoke with the former Muppet Show cartoonist about his current projects — a return to BOOM! Studios with The Musical Monsters of Turkey Hollow and his creator-owned Abigail and the Snowman – what he likes about SPX, and what awesome comics he found at show. He came up with a doozie!
Brigid Alverson: Why are you here at SPX?
Roger Langridge: SPX is the first American convention I ever came to, in 2000.
What book were you debuting there?
I wasn’t! I was in the country with my wife, and we were visiting New York together, and we thought we would work in a trip to SPX while we were here. We came just to see it and to check it out and see what it was like. I was at that point working on Fred the Clown as a webcomic, and I showed it around to a few people, and it really fired me up to do self-publishing. The next year I was planning to debut Fred the Clown at SPX 2001, and of course that’s the one that was canceled because of 9/11. But that got me self-publishing, which is pretty much why I have a career today, I think.
Writer Andres Salazar puts a cool spin on the supernatural Western genre in Pariah, Missouri: The town itself anchors the book — Salazar calls it the “main character” — and he uses it as a vantage point to watch the comings and goings of an amazingly varied cast of characters, some with supernatural powers. He and artist Jose Pescador lay out the territory in Book 1, and assemble a sort of 19th-century Mod Squad to fight the forces of evil.
Salazar crowdfunded the first volume of Pariah, Missouri, on Kickstarter, and Diamond Comic Distributors picked it up for July Previews — in fact, it was a Staff Pick—and it’s available in comic shops now. He’s running a Kickstarter campaign to fund the second volume.
Robot 6: What is it about this particular time and place that intrigued you?
Andres Salazar: I wanted something different than a traditional Western, which are post-Civil War stories, usually in the 1880s, after the trains crossed the plains. I wanted it to be in the 1850s, when slavery was still present. Missouri had a unique position in the country as having both slaves and free blacks, so I wanted to explore those social dynamics. I grew up in Arkansas and traveled to Missouri many times, and there’s something special about the Midwest that I wanted to explore. It was the frontier in the 1850s, and a hotbed of various religions and folk magic. Lastly, I’m a fan of Mark Twain and his stories on the steamboats, and I wanted Pariah to be that mysterious steamboat boomtown.