Peter David, writer of X-Factor, Aquaman and Hulk, among others, posted on his blog that he had a stroke while on vacation in Florida.
“We were on vacation in Florida when I lost control of the right side of my body,” David wrote. “I cannot see properly and I cannot move my right arm or leg. We are currently getting the extent of the damage sorted out and will report as further details become clarified.”
David has written countless comics, with classic runs on Incredible Hulk, Aquaman, Young Justice, Fallen Angel, Supergirl and X-Factor, which he currently writes for Marvel. He has also written novels, video games and television shows over the course of his career.
Our thoughts are with David, and on behalf of everyone at Robot 6, we wish him a fast and full recovery.
To see what Greg and the Robot 6 crew have been reading, click below …
Hello and welcome to Shelf Porn! Today we have a special treat, as Green Lantern: New Guardians artist Tyler Kirkham shares images of his office/drawing space, as well as his Skyrim-themed basement.
If you’d like to see your collection featured in Shelf Porn Saturday, send your submission to email@example.com. Let’s make it happen in 2013!
And now check out Tyler’s stuff …
Thirty-six questions. Six answers. One random number generator. Welcome to Robot Roulette, where creators roll the virtual dice and answer our questions about their lives, careers, interests and more.
Now let’s get to it …
There’s a professional wrestler named Cody Rhodes. His family has been in the wrestling business for longer than he’s been alive, his father being the legendary Dusty Rhodes and his brother the offbeat Golddust, both working for the WWE. Following family tradition, he’s a fantastic wrestler, absolutely charming and has only recently gotten the crowd’s attention through a horrible-looking mustache.
Trust me, I’m going somewhere with this.
As I said, Cody Rhodes is fantastic. He’s worked with legends, played mostly heel roles and tried to work the crowd against him. He even had a stint with a Doctor Doom-esque look, complete with mask, dark hood, minions and a hatred for the ugliness of WWE fans. I thought it compelling, at least, but most crowds seemed to find it lukewarm at best. He brought a sense of prestige back to the Intercontinental Title; it’s already moved on and stagnated once more. Nothing seems to stick with a guy who has so much going for him … until this mustache. After some time off for an injury, he returned to a tag-team partnership with — gracious, just look at it. It’s horrible. It’s laughable. Patchy in places, it just doesn’t fit his face quite right, making him look less like Tom Selleck and more like a guy with candy in his unmarked van. The very night he returned, the audience seemed to wake up. A spontaneous chant of “Co-dy’s mus-tache!” broke out and has followed him since. Other wrestlers can poke fun at it, he can be angry and indignant about it, bad guy wrestlers can support this horrible decision and somewhere down the line, there can be a “Mustache Match” or something where the thing is removed and we have story line closure.
I guess what I’m trying to say is that Superior Spider-Man is Cody Rhodes’ mustache.
Confused? Read on!
WARNING: We’ll be talking extensively about The Amazing Spider-Man #700 and Avenging Spider-Man #15.1 as well, so grab your copies and read along!
One of the most interesting things about the big plot development in this week’s Amazing Spider-Man #700 isn’t its effects on the Marvel Universe, or even fan reaction, but rather the lengths mainstream media outlets go to find a different angle for their coverage of the story. Take, for instance, CNN, which paired an interview with writer Dan Slott and editor Steve Wacker with a rundown of “13 comics that caused controversy, ranging from DC’s reintroduction of Alan Scott as a gay man and Buffy the Vampire Slayer‘s recent abortion storyline to Superman’s renouncement of his U.S. citizenship (I’d already forgotten about that) to the tea party dust-up over Captain America #602.
Rough around the edges but as precise as a Swiss clock. It’s an apt description for the Marvel character Hawkeye, and also the work of series artist David Aja.
Born and raised in Valladolid, Spain, the same town Don Quixote author Miguel de Cervantes called home, Aja earned a college degree in illustration as was on his way to a career in magazine illustration before he followed his childhood ambition: comics. After a prosaic debut in the Marvel anthology X-Men Unlimited, Aja grew by leaps and bounds before becoming the signature artist of the cult-hit series The Immortal Iron Fist with writers Ed Brubaker and Matt Fraction. After the conclusion of his run, Aja did a series of one-off stories for titles like Secret Avengers, Daredevil and Wolverine: Debt of Death while he and his wife added two children to their home already filled with animals. This year, Aja and Fraction reunited for another series, this time taking on classic Avenger (and newly minted movie star) Hawkeye in a self-titled series that focuses on the archer’s life when he’s not working as one of Earth’s Mightiest Heroes.
After last week’s stupendous one-off story in Hawkeye #6, Aja seems on top of his game. And what better time to get inside his head and find out what he thinks about comics and his place in it. In our conversation, we go over his time on The Immortal Iron Fist and Hawkeye, his views on original art, and also his idea of creative teams and what his formula is for making a great comic.
Comic-Con International has announced the Will Eisner Hall of Fame is now online, with a browsable catalog of the more than 120 creators — from Neal Adams to Wally Wood — who have been inducted since 1987. Each entry, arranged in alphabetical order, includes a brief biography of the creator, the date of induction and, in many case, a photograph or illustration.
Only a handful of comics were released on Wednesday, what with it being a skip week for Diamond Comic Distributors. What did come out, though, could be described as “event” comics — an anniversary issue, crossover kick-offs and several first issues and specials — including Mara, a new miniseries by Brian Wood and Ming Doyle.
“Mara is one of the most famous people on the planet, a superstar athlete with widespread name recognition, celebrity endorsements, her own broadcast network — not so shabby for a girl in her late teens,” Wood told Comic Book Resources in September. “She is a member of a society that places their ultimate emphasis on physical achievement, whether it be in sports or the waging of war. So when she does start to manifest powers, this is pretty significant. Everything she’s accomplished up to this point is immediately suspect. It looks like she cheated. It’s hard to overestimate the implications of that in the world she lives in.”
Here is what folks are saying about it:
Vince Ostrowski, Multiversity Comics: “Wood’s goal is to clearly present us with a future world that is a magnification of our own. The NFL is the most watched programming week in and week out, and while there is no inherent harm in enjoying a sport, there is clearly a lot of ulterior stuff going on in the marketing and the business side of things. Athletes get paid salaries that are more and more outrageous every year and advertising seems to pervade everything, as certain sports see players covered in logos. Even playing fields and specific games are sponsored by companies who have a financial stake in the popularity of sports. Wood has always allowed a bit of politics or social commentary into his work, but is careful in doing so. The enjoyment of the sport itself is not condemned, and the satire of the business side of things is handled with subtlety and class.”
Artist Becky Cloonan points out that this Huffington Post interview with her collaborator Gerard Way includes new art (above) from The True Lives of the Fabulous Killjoys, the writer’s long-awaited followup to 2007’s The Umbrella Academy: Apocalypse Suite.
Retailer Bob Ficcara, owner of the well-regarded Metro Entertainment in Santa Barbara, California, is in desperate need of help.
In 2011, he suffered a minor stroke while working at the store, and discovered his health insurance wouldn’t cover much of his medical expenses; that was just a year after Ficcara racked up bills from surgery and physical therapy required for an Achilles tendon injury. He was unable to reach a payment-plan agreement with the medical providers, who took him to court to secure liens and levies. A month ago, Ficcara’s bank account was emptied, and at about the same time his wife Jamie was laid off from work. Now, Ficcara stands to lose the comic store he’s owned since 1991.
However, cartoonist Bill Morrison, co-founder of Bongo Comics, hopes to prevent that from happening. He’s moving quickly to organize auctions of original art to raise the $30,000 Ficcara needs to save Metro Entertainment. Unfortunately, time isn’t on Morrison’s, or Ficcara’s, side: The debt is due Jan. 14.
Morrison is already off to a good start, though, receiving original art from the likes of Dave Gibbons, Bruce Timm, Eric Powell, Paul Smith (shown at right), Dean Yeagle (below), Geof Darrow, Tone Rodriguez (below), Evan Dorkin, Jim Woodring, Humberto Ramos and Herb Trimpe (as well as himself, of course). But he’d like to get more original work from major artists. Those interested in contributing should contact Morrison at firstname.lastname@example.org. Update: Neal Adams has contributed a Hal Jordan/Green Lantern piece, which you can see below.
He plans to begin the auctions Sunday on eBay; although Morrison doesn’t have any auctions set up yet, you’ll be able to find them through his user ID juliennefryes. He’ll promote the auctions at Comic Art Fans as well. Cash donations will also be accepted through PayPal (email@example.com), or by check to:
Stan Lee, who along with such collaborators as Jack Kirby, Steve Ditko, Bill Everett and Don Heck created the Marvel Universe, was born 90 years ago today in New York City.
With a little help from his uncle, Lee was hired in 1939 as an assistant at Timely Comics, which was owned by his cousin’s husband Martin Goodman. Twenty-two years later, as editor-in-chief, Lee ushered in the Marvel revolution with the introduction of the Fantastic Four, followed quickly by the likes of the Incredible Hulk, Spider-Man, Iron Man, Thor, the Avengers, the X-Men and Daredevil. He rose to president (if only briefly) and publisher of Marvel, as well as its public face, before becoming its Hollywood representative in the early 1980s.
Publishing | More than 4,000 new comic titles were released in the European Francophone market in 2012, marking the 17th consecutive year of growth. According to the Association des Critiques et journalistes de Bande Dessinée, the French association of comic strip critics and journalists, more comics were produced in the Francophone market than in the United States. [RFI]
Comics | The death of Spider-Man hits the mainstream media, with Marvel Editor-in-Chief Axel Alonso asserting, “We didn’t make this move lightly.” Stan Lee called it “a helluva birthday present” but added “But then, a little voice in my head whispered, ‘never say never. Just go with it while you can because Marvel, the House of Ideas, will always have a surprise up its creative sleeve for you and the rest of Marveldom Assembled!'” Entertainment Weekly’s Geoff Boucher said the ongoing deaths of superheroes are starting to feel “a little gimmicky” but he also nailed why the publishers do it: “if you look at who’s buying Marvel and DC, it’s long term fans and those readers are going to complain about this and debate about it — but are going to buy two copies.” [New York Daily News]
Geoff Johns always starts strong, and “Throne of Atlantis” is no exception. The only two New 52 books DC Comics put out this week were the first two parts of this crossover, in the 15th issues of Justice League and Aquaman. That suggests something significant, so they dare not disappoint.
Ivan Reis and Joe Prado take over JL’s art with this issue, while Paul Pelletier and Art Thibert (with an inking assist from Karl Kesel) start on Aquaman. I’ve liked Pelletier’s work for years, but his characters aren’t as lean as Reis’s, and I wondered how well the styles would mesh. In fact, here they mesh pretty well, since Pelletier and company seem to have adapted to blend more seamlessly with Reis and Prado. Giving a big assist is colorist Rod Reis, who handles both books with the same basic blue-green palette.
I mention the art upfront because these two issues combine to establish “Throne of Atlantis” as a big crossover, both in terms of its implications and its threat level. While the plot so far is pretty straightforward, Johns and company hang on it a few impressive set-pieces, and a couple of nice bits of characterization. It’s the kind of high-stakes story I expect from the Justice League, and I hope it bodes well for the book’s future.
So without further ado, SPOILERS FOLLOW:
“One of the greatest things about working in digital is the sheer disconnect between comic book professionals and webcomic professionals — this gargantuan gulf I had no idea existed. Because the myth among us comic book folk is that webcomics guys, ah, yeah there’s a couple of them making a little bit of money, but by and large they’re all losing their shirts. You know: little kids doing their little thing on the side, that’s the myth. And the reality of it is, no, actually a lot of guys are making a decent living doing this, a lot of guys. And it doesn’t mean everybody can, but it means that there’s a lot more to that, there’s a lot more money in that ecosphere than you dreamed, and some guys are making really good money doing that stuff. And while making really good money is for me not the goal, it’s just to make enough money to keep doing it, the idea that it can be done is great. And what’s also great about the webcomic community is that I have yet to encounter any sense of selfishness, any sense of proprietary ownership, any sense of trade secrets and people being very hush hush with what they’re doing, because that’s stupid. Comic books tend to do that because we’re selling to an audience of 90,000 people, but among the webcomics guys they seem to get the fact that the potential audience is 6 billion people. There’s room for all of us out there. We’re not worried about competition yet among each other.”
– Mark Waid, discussing the financial aspects of digital comics, in a wide-ranging interview with Toucan that addresses his 25-year career, his approach to Daredevil and the Hulk, collaboration and more