Robert Rodriguez Joins Live-Action "Jonny Quest" Film
Batgirl heads from Burnside to Anaheim with series artist Babs Tarr’s program cover for WonderCon 2015.
The convention’s Toucan blog unveils the cover, along with a glimpse into Tarr’s creative process — and a hint that a T-shirt may be on the way. The program books will be given free to attendees at WonderCon Anaheim, held April 3-5 at the Anaheim Convention Center.
Fans will have to wait until September 2015 to get their hands on the Batgirl Black and White Statue, based on the character’s redesign by Cameron Stewart and Babs Tarr, but artist Jesse Farrell has already sculpted his own take on Burnside’s protector.
Created for the sixth annual “Dark Knight on a Dark Night” Batman art show at Hub Comics in Somerville, Massachusetts, the sculpt was inspired by Barbara Gordon’s first appearance, on the cover of 1967’s Detective Comics #359. However, Farrell’s version is decidedly modern, with the updated costume, smartphone and spilling cup of Gotham Coffee.
See a couple of photos below, and more on Farrell’s website.
The marquee installment of The Multiversity may have been last month’s Pax Americana, but I was especially excited to see what writer Grant Morrison and artist Cameron Stewart (with colorist Nathan Fairbairn) would do with the Captain Marvel Family in this week’s Thunderworld. I was not disappointed. The Marvels have long been a sort of unicorn for DC’s superhero line, personifying both its potential and its abuse, and even its history (acquired as they were after the demise of Fawcett Comics). However, many modern takes on Cap and company often elicit negative comparisons to the character’s previous treatment. These boil down to some form of “why can’t it be like the old days?” (which, after all, is a common enough DC complaint).
DC Entertainment has debuted the first look at the upcoming Batgirl Black and White statue, based on the fan-favorite character redesign by Cameron Stewart and Babs Tarr.
Set for release in September 2015 from DC Collectibles, it’s the first Batgirl statue from the popular Black and White line that’s included The Joker, Harley Quinn and numerous takes on Batman. Irene Matar, who sculpted DC Collectibles’ Batman: The Animated Series line, also sculpted Batgirl.
Creators | A U.K. researcher argues that Marie Duval was the real creative force behind the wildly popular 19th-century British comic Ally Sloper, which is largely credited to her husband Charles Ross. Duval, the pen name of French cartoonist Emilie de Tessier, drew the character at the height of his popularity in the 1860s and ’70s, but historian David Kunzle now questions what role Ross actually played in his creation. [The Guardian]
Commentary | Chase Magnett pushes back on Chris Suellentrop’s statement, made in a column about GamerGate, that comics are “a medium that has never outgrown its reputation for power fantasies and is only very occasionally marked by transcendent work (Maus, or the books of Chris Ware) that demands that the rest of the culture pay attention to it.” [Comicbook.com]
It would be awfully hard to overstate the enthusiasm out there for Batgirl #35. As soon as the new creative team of Cameron Stewart, Babs Tarr and Brenden Fletcher was announced, social media was buzzing; hell, it was singing. Fan art of the new costume began appearing online immediately, and cosplayers started dressing the new Batgirl based on nothing more than the initial promotional images and cover.
I can’t recall the last time I’ve seen this much enthusiasm for a DC Comics production. Universe-shaking developments — deaths, resurrections, infinite crises — major crossovers, and new series from the hottest creators are generally greeted with a dose of cold water from a certain faction of fans. DC readers tend to fall somewhere between “cautiously optimistic” and “openly hostile” when it comes to the publisher’s big decisions. But, for whatever reasons, I’ve seen none of that cynicism regarding the new direction of Batgirl.
Which is a long way of saying that expectations for this particular issue of this particular series are, in most quarters that care about such things, sky-high.
There are only ever three things that can happen with expectations: They can be met, they can fail to be met, or they can be exceeded. And, in general, the higher the expectations are, the less likely they are to be met.
So, as a comic book, how is Batgirl #35 …?
First, Archie Andrews took the ALS Ice Bucket Challenge, and now it’s Batgirl’s turn!
Challenged by Stella of the Batgirl to Oracle podcast to take the plunge for charity, the incoming Batgirl team of Brenden Fletcher, Cameron Stewart and Babs Tarr came up with a creative response: They recruited Barbara Gordon to stand in for them in a fun comic strip — and she brought along some unexpected help.
When DC Comics relaunched its superhero line in 2011 with the New 52, there was an unmistakable sameness to the aesthetic of many of the titles. Sure, there have been some eye-catching exceptions, but for the most part, the Jim Lee-led character redesigns have exerted great influence over the DC Universe for the past three years.
If you’re a fan of Jim Lee, that’s pretty awesome. If you’re a fan of a lot of artists and styles, that’s less awesome and has made the New 52 sometimes frustrating and occasionally baffling. There are more than 75 years’ worth of characters bursting with the imagination of hundreds of creators. Why filter all that down to such a narrow experience for readers? I love Oreo cookies, but can I ever have chocolate chip cookie?
But then, along comes new Batman Group Editor Mark Doyle, who moved from Vertigo in February. Suddenly, there’s a new creative team, a new costume and a new outlook, for Batgirl, followed by announcements of Gotham Academy, Arkham Manor and, just Tuesday, Gotham By Midnight, demonstrating that Batman and his world are a resilient and powerful corner of the DC Universe. It’s one where offering different aesthetics adds a richness to the entire line while (possibly) attracting the eye of those looking for something different in their reading experience.
Essentially, Doyle just installed a snack bar. So let’s go eat!
Comic-Con International has come and gone, and like every year, we’re left with a metric ton of announcements, hints, speculations, sneak previews, leaked footage and open questions.
There also seemed to be more pre-convention announcements than I can remember seeing in previous years. If the past week or so of frenzied news wasn’t enough, panel coverage and from is still rolling out. Based on the past several years, we should see those continue to be doled out for the next week or two.Comic-Con is truly a month-long event, maybe almost two months when all is said and done. So it’s understandable if it’s sometimes difficult to keep track of what was announced when or to even remember that awesome thing I was so excited about a week ago but can’t name now.
There are plenty that stuck with me, however; I’ve already written about comiXology’s DRM-free titles, and some of Image’s upcoming titles, and there were plenty of others. Of course, I can’t mention all of the cool things to emerge from Comic-Con — that would just be a near duplication of everything we’ve heard about for about a month now. So instead, here are six (more) things from Comic-Con I can remember thinking were extra-awesome:
Cameron Stewart has a clean, distinguishable artistic style, with a hint of a manga influence, but with panel-to-panel transitions that are more delicate and subdued. His art has become quite popular, with his redesign of Batgirls costume creating something of an Internet sensation. While his artwork lends itself easily to all-ages comics, he’s frequently collaborated with Grant Morrison on such titles as Seaguy, Seven Soldiers and Batman & Robin.
However, his art has also appeared in strange psychological thrillers. In 2010, his webcomic Sin Titulo won the Eisner Award for Best Digital Comic, after it had already won the 2009 Shuster Award in the same category.
Ahead of this afternoon’s DC Comics panel for The Multiversity at Comic-Con International, EW.com has debuted the mind-blowing — or is that mind-altering? — map of the DC Universe conceived by Grant Morrison.
Although the resolution isn’t high enough to make out all of the details, you can easily spot locations like the Source Wall, the Speed Force Wall, Dream, Apokolips, New Genesis, Skyland, the House of Heroes and the Rock of Eternity. The type in the Star Trek-like “Shift Ship Classification” on the right is a little too small for
old tired eyes.
In the six days since DC Comics announced the new Batgirl creative team of Cameron Stewart, Brenden Fletcher and Babs Tarr, Tumblr has been inundated with fan art inspired by the new costume (designed by Stewart and Tarr) — so much so that Batgirl of Burnside, “an (un)official blog for the DC Comics series,” has been launched, serving as a clearinghouse of sorts.
Stewart, who runs the blog, admitted there’s so much art that he’s having trouble keeping up with it. Asked how he felt about the response to the design, he wrote, “I am overwhelmed and ecstatic and grateful and vindicated. I couldn’t be happier with the tidal wave of support and sincere joy that’s come our way, the (literally) hundreds of pieces of fan art that are being breathlessly drawn faster than I can look at them, the cosplayers already choosing fabrics and causing yellow Dr Martens boots to sell out online. The huge response is a clear sign that despite our detractors we’ve really tapped into something that was waiting to explode.”
Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.
This week DC Comics announced a big change in Batgirl: namely, a new creative team of writers Cameron Stewart and Brenden Fletcher and artist Babs Tarr. Coming aboard with October’s Issue 35, they bring a nifty new look and setting. After three years of grim but determined storytelling from writer Gail Simone and various artists (most recently Fernando Pasarin), Barbara Gordon is heading into Gotham’s “hip border district” for graduate school, and she’s leaving all the bad times behind.
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.
Cartoonist Cameron Stewart is touring North America (with a stop in the United Kingdom) in support of his recently released graphic novel Sin Titulo, and he’s been hiding pieces of original art during each of his stops — along with hints as to where he deposited them. So far Stewart has visited 10 cities in the United States and Canada, with another signing tonight at Chicago’s Challenger Comics + Conversation. The Windy City art already been found, but people in Columbus, Ohio, New York City and Leeds, England, need to stay tuned to Stewart’s blog as he drops more clues. Here are the details of Stewart’s tour so you can get ready.