Dave Gibbons Archives - Page 4 of 5 - Robot 6 @ Comic Book Resources
Following years of rumors, DC Comics announced this morning it’s revisiting the characters introduced by Alan Moore and Dave Gibbons in the seminal 1986 miniseries Watchmen with seven inter-connected prequels collectively titled … Before Watchmen. What’s more, the project now has the blessing of Gibbons, who as recently as last summer seemed resistant to the idea.
“The original series of Watchmen is the complete story that Alan Moore and I wanted to tell,” the artist said in a statement. “However, I appreciate DC’s reasons for this initiative and the wish of the artists and writers involved to pay tribute to our work. May these new additions have the success they desire.”
Moore, however, isn’t as generous, describing the prequels as “completely shameless.” “I tend to take this latest development as a kind of eager confirmation that they are still apparently dependent on ideas that I had 25 years ago,” he told The New York Times.
The writer, who stopped working for DC in 1989 following disputes about Watchmen royalties and a proposed age-rating system, revealed in July 2010 that the publisher had at last offered to return the rights to his most famous creation, if he “would agree to some dopey prequels and sequels.”
“So I just told them that if they said that 10 years ago, when I asked them for that, then yeah it might have worked,” he said at the time. “But these days I don’t want Watchmen back. Certainly, I don’t want it back under those kinds of terms.”
Designer and letterer Todd Klein continues his artistic trek through the alphabet with another art print, as he and Watchmen co-creator Dave Gibbons team up on one called “It Is.”
“Dave has written a poem focusing on the ever-changing nature of our internal perception, that which makes up our own personal ‘I.’ I’ve designed and hand-lettered it,” Klein says on his blog. The print can be purchased from his website for $20 plus shipping.
Note: The artwork originally accompanying this post has been removed following a cease-and-desist letter from DC Entertainment’s legal affairs department.
Any doubts regarding the accuracy of reports about DC Comics’ long-rumored plans for Watchmen prequels may have eroded over the weekend with the emergence of character art by J.G. Jones and Joe Kubert and Andy Kubert.
Bleeding Cool characterizes the illustrations of Nite Owl and The Comedian as cover art for the projects, purportedly being assembled under the code name “Panic Room,” but considering the characters’ names are written on the pages, it seems more likely they’re concept designs.
The four prequels to the seminal 1986 miniseries by Alan Moore and Dave Gibbons are said to also involve Darwyn Cooke, J. Michael Straczynski, John Higgins and even Gibbons himself. Cooke, however, seemed to dismiss reports he was working on one of the miniseries, telling CBR News recently, “Ah, get out, man. That’s like three years old.”
For a while now, Bleeding Cool has repeatedly linked Eisner Award winner Darwyn Cooke with the hotly rumored Watchmen 2 from DC Comics, driving the world’s Twitterati into a Walter Kovacs-like frenzy.
But if that’s the case, Mr. Cooke is unaware of his connection.
When I spoke with the Canadian cartoonist in a recent interview about his artwork for an upcoming issue of James Robinson’s The Shade, I asked Cooke point blank if he would be working on Watchmen 2.
Cooke responded, succinctly, “Ah, get out, man. That’s like three years old.”
Now if DC Comics was planning Watchmen 2, the publisher would not want the sure-fire hit to be announced as a throwaway line during an interview for an unrelated series, so Cooke easily could have been smoking out CBR News with a red herring.
And his answer did lean toward the question being “old” news and not “no” news, so DC Comics may very well be prepping a sequel to the groundbreaking maxi-series by Alan Moore and Dave Gibbons. It just doesn’t appear that Cooke will be playing a role.
Which is too bad, because Cooke writing, drawing or even thinking about the characters from Watchmen, especially The Comedian, would qualify as about as pitch-perfect as you could get in terms of a creator getting on board a project that would certainly come with equal parts praise and ire, if and when it is ever announced.
Bleeding Cool contends it’s been “informed quite conclusively from a reliable source” at the publisher that the artist is among the A-list talent involved in the secretive project, which reportedly will use key characters from the seminal 1986 miniseries by Alan Moore and Dave Gibbons.
Other previously mentioned creators include Darwyn Cooke, J. Michael Straczynski, J.G. Jones, John Higgins and even Gibbons himself.
Murmurs of DC’s desire for a Watchmen follow-up gained steam in 2010 after the departure of President Paul Levitz, believed to be the last in-house obstacle to using the Moore-Gibbons characters. The writer seemed to confirm as much last year when he revealed the publisher finally had offered to return the rights to the property — copyright and royalty issues form the roots of his legendary feud with DC — in exchange for a concession: that Moore “agree to some dopey prequels and sequels.” He refused.
Then-newly minted Co-Publishers Dan DiDio and Jim Lee said at the time that DC “would only revisit these iconic characters if the creative vision of any proposed new stories matched the quality set by Alan Moore and Dave Gibbons nearly 25 years ago, and our first discussion on any of this would naturally be with the creators themselves.”
As recently as August, Gibbons addressed perennial rumors of a sequel and the possibility of the characters being transplanted into the DC Universe, telling Comic Book Resources, “It’s not something that I’d personally like to see happen. [...] What I would say is, intrinsic to the whole idea of Watchmen is that they existed in a world that was the way it was because of their existence. And I think to transplant them into another world actually removes a huge part of what is the essence of Watchmen.”
Officially unveiled Tuesday on Comic Book Resources, The Secret Service is the duo’s long-simmering first-time collaboration, based on an idea by Millar, Gibbons and Kick-Ass and X-Men: First Class director Matthew Vaughn (who holds the film rights to the project). More details will be revealed next month in CLiNT #12.
As he did with Kick-Ass, Nemesis and Superior, Millar is auctioning off the opportunity to name a character in The Secret Service — specifically, the villain — with the proceeds going to charity. This time the beneficiary is St. Bartholomew’s Primary School Pantomime Fund, established by Millar (a former student there) and Head Teacher Christine Boyle. The current bid on the eBay auction is $3,100, with mere hours to go.
The six-issue miniseries is set to debut in February.
Legal | Prosecutors in Macomb County, Michigan, rested their case Friday in the second trial of Michael George, a former retailer and convention organizer accused of the 1990 murder of his first wife Barbara in the back room of their Clinton Township comic store. The judge this morning will hear a defense motion for a directed verdict, seeking dismissal due to lack of evidence, before testimony resumes.
George, now 51, was arrested in August 2007, after a detective reopened the cold case, and convicted seven months later of first-degree murder and insurance fraud, among other counts, and sentenced to life in prison. However, the judge later set aside the verdict, citing prosecutorial misconduct — George’s mug shot was shown to the jury — and the release of new evidence that could lead the jury to believe another person was responsible for the murder. His retrial began Sept. 14, and should conclude this week. Prosecutors contend that George staged the killing to look like a robbery so he could collect money from an insurance policy and a shared estate, and start over with another woman. George insists he was asleep at the time of the shooting, and that his wife was the victim of a robbery gone wrong. [Daily Tribune]
Publishing | Chip Mosher, marketing and sales director for BOOM! Studios, left the publisher on Friday after four years. Marketing coordinator Emily McGuiness will take over his duties. [BOOM! Studios]
Hello and welcome once again to What Are You Reading? This week our special guest is Von Allan, creator of the self-published graphic novel series Stargazer. The first volume is still available, while the second one is due in shops in October.
To see what Von and the Robot 6 crew have been reading, click below.
“I think, without wishing to sound like a deposed dictator or a mob boss, that I’d like to take the Fifth and at this point say I reserve my position and say I have no comment to make. [...] It’s not something that I’d personally like to see happen. I sense you’re drawing me a little off the position of not commenting on it, so I think I’ll kind of leave it like that. What I would say is, intrinsic to the whole idea of Watchmen is that they existed in a world that was the way it was because of their existence. And I think to transplant them into another world actually removes a huge part of what is the essence of Watchmen.”
– Watchmen co-creator Dave Gibbons in an interview with CBR TV,
addressing perennial rumors about a sequel to the landmark 1986 miniseries, and the possibility of the characters being integrated into the DC Comics universe
Say the name Liam Sharp to a group of comic readers and it’s bound to bring up different images for each person. To some he’s best known for the early ’90s Marvel UK series Death’s Head II, while others think Judge Dredd and even others remember his ill-fated comic company Mamtor from a few years back. Although Mamtor failed to become a lasting presence, it featured impeccable work (and design from Tom Muller) that is a great back-issue find if you’re so lucky. And at Comic-Con International over weekend, Sharp announced his new publishing outfit — Madefire Publishing.
Launching as a digital-first comics publisher, Madefire is intended to be a modern-day equivalent of the comics from Sharp’s childhood — “cheep, accessible entertainment,” as he’s told Bleeding Cool. Using the wide user base of smartphones, Madefire’s digital comics app hopes to touch into both the hardcore fan, the lapsed fan and the future fan with their line-up of titles.
In addition to his own project Captain Stone is Missing, Sharp has assembled a great line-up of creators for the effort, including Mike Carey and Dave Kendall’s Houses of the Holy and a new series called Treatment written and drawn by Dave Gibbons (!!).
No word yet on when their first projects will be released, but I’ll be keeping my ears up looking for more information as its announced.
As we noted a week ago, Sam Humphries and Steven Sanders self-published a science fiction comic called Our Love Is Real, which subsequently sold out in print in nine hours. A second print is on the way (that’s the cover you see to the right) and it’s still available digitally through their website or comiXology.
Humphries, a former Robot 6 guest contributor and my fellow panel member in San Diego next week, agreed to share a list of what he considers to be some of the great science fiction comics. Note that he chose not to use the words “best” or “favorite” to describe the list. “‘Favorite’ or ‘best’ implies more commitment than I’m ready to give,” he said.
So without further ado …
Six great science fiction comics, by Sam Humphries
1. AKIRA by Katsuhiro Otomo
A giant of science fiction, often imitated, never surpassed. At its heart is a tale of a bromance gone wrong, two best friends who carve their years of brotherhood and resentment across Tokyo, Japan, and the Moon. The anime adaptation is superlative, but the manga, sprawled across six thick volumes of meticulously drawn, hi-octane pages, is a true monumental achievement. I’ll be gunning for this No. 1 spot ’til I die. G.O.A.T.
Watchmen #7 (1986), page 16. Dave Gibbons.
Dream sequences are always a lot of fun. The comics medium nails dream states on a regular basis better than any other medium, in my opinion. Something about it is perfectly pitched to depicting that particular mental activity. Maybe it’s because we dream “in comics” a lot of the time — science tells us that the amount of actual moving images we see in dreams is relatively small compared to the number of still images that flash one after another through our minds, linked into continuity by the imagination. The narratives we create while dreaming exercise the same thought processes we use to read comics, so perhaps it’s no wonder that seeing dreams drawn into comics form feels so right, so familiar.
Dream comics so often means formalist comics — the call to produce a convincingly different state of consciousness gets inside the layouts at least as often as the boxes themselves, the actual mode of working altered to reflect it. The dream sequence is a chance to push boundaries and try things, to cut loose or bring a little something extra. The Dave Gibbons page above is one of the all-time great dream scenes, up there with Jim Steranko’s psychedelic muraling in Captain America and Winsor McCay’s all-time champion fantasies on Little Nemo.
There’s a weird little sequence in the middle of DC Universe: Legacies #3 when the narration’s timeline goes all hazy and oblique, in order to move the story from sometime in the Eisenhower/Kennedy years right into the “X years ago” of modern continuity. Because Legacies tracks some sixty-five years of costumed crimefighting, this sequence bridges the gap between the Justice Society’s retirement and Superman’s debut.
“Hazy and oblique” are also good words for describing DC’s approach to long-term continuity. The history of the DC Universe is well-settled up to the early 1950s, but past then it becomes elastic. This is something we’ve come to expect: fudging the calendar keeps our heroes both as experienced and as youthful as they need to be. However, each passing year also widens the gap between the end of the Golden Age (early ‘50s) and the beginning of the Silver (thought to be 12-15 years ago). Through reader-identification character Paul Lincoln,* DCUL’s writer (and longtime DC favorite) Len Wein aims to put a human face on all those four-color adventures.
That sounds like the premise of 1994′s Marvels and its spiritual descendant Astro City. Really, though, any halfway-entertaining super-survey needs a narrator with a recognizable point of view. Even 1986′s History of the DC Universe, which was basically a series of George Pérez pinups arranged in chronological order, took its florid prose ostensibly from Harbinger’s meditations on the nature of heroism.
No, seriously! Those are Scalped and Ultimate Captain America writer Jason Aaron’s exact words to the legendary Watchmen and From Hell scribe (and fellow beard enthusiast) in Aaron’s latest “Where the Hell Am I” column for CBR: “Go fuck yourself, Alan Moore.” Apparently the writer took Moore’s spate of angry and dismissive comments about the comics industry — spurred most recently, in straw-that-broke-the-camel’s-back fashion, by unpleasant dealings Moore had with former collaborator Dave Gibbons over DC’s potential publication of Watchmen sequels — very personally:
The great cartoonist and critic Frank Santoro is once again tackling grid-pattern panel layouts, and this time he’s talking about arguably the most famous nine-panel grids of all: Those used by Alan Moore and Dave Gibbons in their stone-classic superhero dissection Watchmen. Here’s a sample that includes an insight about the art in that book that had never occurred to me before: