John Diggle Suits Up in First Look at New "Arrow" Costume
Awards | Online voting is open through April 30 for the sixth annual Inkwell Awards, which recognize excellence in comic-book inking. The winners will be announced during a ceremony at HeroesCon, held June 7-9 in Charlotte, North Carolina. [Inkwell Awards]
Comics | On the website of the conservative Media Research Center, Kristine Marsh and Matt Philbin accuse DC Comics and Marvel of having a “homosexual agenda”: “Like the rest of American pop culture, comic books have increasingly included pro-gay propaganda pieces aimed at the children and young adults who read them.” [Media Research Center]
One of the most symbolic moments of Superman is when he changes from his guise as Clark Kent to become the Man of Steel. The idea that the wearing of a costume imbues some kind of unquantifiable power is a key part of what makes superhero comics work; otherwise, they’d just be adventurers and action heroes.
But speaking of change, changes in superhero costumes have become as much a part of the comics as the heroes themselves. From Superman’s early days with his golden emblem to the modern “S” today and on through to other years (including Batman’s countless wardrobe changes), the design of a superhero isn’t static and a redesign has proved, many times, to be just the thing to make a character work.
In this week’s “Six by 6,” I pinpoint six of the most dynamic and powerful redesigns in superhero comics. Redesigns that saved a character from obscurity, put them in a new light or simply simplified what was already there.
Happy Sunday and welcome to What Are You Reading?, our weekly look at all the comics and other stuff we’ve been reading lately. Today our special guest is Dave Dwonch, creative director at Action Lab Entertainment and the writer of such comics as Space-Time Condominium, the upcoming Ghost Town, Double-Jumpers and more.
To see what Dave and the Robot 6 crew have been reading, click below.
Welcome to “Cheat Sheet,” ROBOT 6’s guide to the week ahead. Below you’ll find our contributors’ picks of the comics of the week — from the return of Poison Elves to Grant Morrison’s farewell to Action Comics — and the top events to watch for in the next seven days.
Hello and welcome to What Are You Reading? It’s an abbreviated edition this week — maybe everyone’s doing their taxes, like I am today — so let’s just get to it …
Hello and welcome to What Are You Reading?, our weekly look at all the comics and other stuff we’ve been reading lately. Our special guests today are Brendan Tobin and Pedro Delgado, who run the March MODOK Madness site. And with this being March, the madness is in full swing, so head over there to check out a lot of fun art featuring everyone’s favorite big-headed villain.
To see what Brendan, Pedro and the Robot 6 crew have been reading, click below.
Marvel has long had aspirations for Hollywood. Decades before The Avengers was a mega-blockbuster, years before George Lucas produced the ill-fated Howard the Duck movie, Stan Lee and his superiors knew the heroes at the House of Ideas could sell more than just comic books.
In the early ’80s, Marvel’s developed pitches for animated shows based on a number of its titles, and a number of new creations. And it’s no wonder, given Marvel’s past with the Fantastic Four show and the success DC Comics had with cartoons on the small screen. But the properties they prepped were, well, something else.
The gold and silver finalists were selected over the weekend for the 20th Spectrum Fantastic Art Annual, which honors the best in fantasy, science fiction and horror art.
Tor.com has the complete rundown of the nominees in all the categories, ranging from advertising to books to concept art — readers will recognize such names as Shaun Tan, Charles Vess, Dan Dos Santos and Greg Ruth — but what we’re really interested in are the comics finalists. You’ll find those below, with their art.
The winners will be announced at Spectrum Fantastic Art Live, held May 17-19 in Kansas City, Missouri.
Hello and welcome to What Are You Reading?, our weekly look at the books, comics and what have you that the Robot 6 crew have been perusing of late. Today we welcome our special guest Steven Sanders, artist of such comics as Wolverine and the X-Men, Wolverine, S.W.O.R.D, Our Love is Real, The Five Fists of Science and more. He’s currently using Kickstarter to raise funds for a “Creative Commons art book” called Symbiosis.
“Symbiosis is a world-building art book that tells the story of a woman’s travels through a world where the symbiotic relationship that we have with technology is made much more visceral,” the Kickstarter page reads. “All sources of power are generated by bio-etheric engines, with which the operators share a direct mental link. The story-telling is loose and mostly visual. It will be told with art that uses a variety of media and formats: fully painted, colored line art, black-and-white line art, and comic art. What you do with this story is up to you. Enjoy it on its own merits, or take it and spin it off into any of a million different directions.”
To see what Steven and the Robot 6 crew have been reading, click below:
Having just edited, and written some of, a collection of essays titled The Devil Is in the Details: Examining Matt Murdock and Daredevil (debuting from Sequart at Emerald City Comic Con), I’ve spent a lot of time reading Daredevil comics. I’ve soaked them all up, processed them, and seen them analyzed scores of ways.
Daredevil is an amazing character and title, and there will always be runs and stories that get praise; we hear about them constantly. So I wanted to quickly bring light to some of my lesser-known favorites. Here are six Daredevil stories that are consistently ignored and yet I think you should track them down.
1. Daredevil/Black Widow: Abattoir
This 1993 graphic novel was a gem I didn’t even know existed until very recently. I had never heard anyone mention this weird and violent tale from Jim Starlin and Joe Chiodo, and I worried that might be because it was terrible. I was happy to discover, after finding a secondhand copy on Amazon, that wasn’t the case.
The story has Black Widow chase down a brutal butcher family of sorts that’s killing telepathic S.H.I.E.L.D. agents. Daredevil nominates himself as the guardian devil for his old flame, and the game is afoot. What follows is as much a psychological game as it is a barbaric fighting match. Axes and chains are as dangerous as flashbacks and barbed words. This book is a mature read, as the blood flows loosely and we even get a narratively charged female-on-female kiss — something I have to assume was risqué for a Marvel book in the early ‘90s.
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a splurge item.
If I had $15, I’d be tempted to blow it all on the recolored Death of Superman collection for the ’90s nostalgia. But then I’d probably flip through it and come to my senses, and instead get something new like Fatale #12 ($3.50) by Ed Brubaker and Sean Phillips, which looks like it’s going to be a trip, flashing back to Medieval times but self-contained as a good entry point for new readers. That’s smart comics. Speaking of smarty-pants, I’d probably get The Manhattan Projects #9 ($3.50) by Jonathan Hickman and Nick Pitarra. It’s the first part of a two-part story about scientists trying to take over the world. There will probably be lots of words that leave me dizzy. I likely wouldn’t be able to resist Matt Wagner writing The Shadow: Year One #1 ($3.99) because, you know, The Shadow knows. I haven’t been following IDW’s G.I. Joe universe but G.I. Joe #1 ($3.99) by Fred Van Lente and Steve Kurth seems like a good opportunity to try it out. And I’d finish it off with Cyber Force #3 by Marc Silvestri and Koi Pham because it’s free.
With $30, I would add to the above. Darkhawk is on the cover of Avengers Arena #4 ($2.99) by Dennis Hopeless and Alessandro Vitti, so I’d be compelled to buy that. I’ve been meaning to check out Erik Burnham and Dan Schoening’s Ghostbusters since I hear it’s real fun, so the relaunched Ghostbusters #1 ($3.99) is a perfect opportunity. Morning Glories #24 ($2.99) by Nick Spencer and Joe Eisma seems too intriguing to pass up. I am so behind on the X-books, but I’d be real tempted to try Brian Michael Bendis and Chris Bachalo’s Uncanny X-Men #1 ($3.99).
My splurge item would be tough. I’d be real tempted to get either the Iron Man Omnibus collecting the entire run of David Michelinie, Bob Layton and John Romita Jr., including the famous alcoholism story, or Counter X: Generation X – Four Days by Brian Wood. But I’d probably end up instead getting the Daredevil By Mark Waid, Vol. 1 hardcover for $35. I don’t know, do I need to justify this purchase? It’s probably the most beloved superhero comic of last year, maybe for the last couple of years. It paved the way for similarly rejuvenating series at Marvel like Hawkeye, Captain Marvel, and Young Avengers. The art by Paolo Rivera and Marcos Martin is swoon-worthy. And it wants to be on my bookshelf, dagnabbit!
“When I wrote Typhoid Mary, there were some strong female protagonists in comics, but I didn’t like the gender garbage bins that female extras went into: wife, bimbo, good girl, slut, witch etc. But men were often disposable in the same way: lunkheads, etc. Now I see plenty of strong females in comics. But both men and women in comics still get used as ‘cannon fodder’ (I am guilty of this myself) where a one-dimensional male or female is needed to play a stereotype and disposed of. But the female leads in their own books, the ones I’ve read, like Batgirl and Wonder Woman and Batwoman are very strong characters.”
Yes, I realize I just posted something about Paolo Rivera on Friday, but this is too good to pass up: The artist has put together a time-lapse video detailing his process for Daredevil #22 (above). It’s at 20 times the normal speed, compressing three hours of work into just 11 minutes.
“It’s a pretty straight forward time lapse, but there are 3 things that I’d like to point out as you watch,” Rivera writes on his blog. “First, I use reference of my own hand to facilitate the drawing process. This photo is taken on the fly using Photo Booth on my iMac. It’s as easy as using a mirror, but with more options. Second, I employ a digital perspective template of my own design for the background. It’s extremely useful, but has a steep learning curve — I plan on releasing it to the public later this year. Lastly, toward the end of the video, you can see that I had trouble with Daredevil’s legs as he’s scaling Stilt-Man’s serpentine legs. The cover as a whole went pretty smoothly, but it took me a long time to find a pose for him that didn’t look totally awkward to me. Spidey, on the other hand, was a breeze — characters who are flying/falling are always easier to draw since they don’t have to interact with any other entities.”
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.
Today we welcome artist Chris Samnee, who you know from his work on Daredevil, Thor: The Mighty Avenger, Captain America and Bucky,Rocketeer: Cargo of Doom, The Mighty and more.
Now let’s get to it …
To see what Josh and the Robot 6 crew have been reading, click below.