This is our final post for our big birthday bash, and what a post it is. No matter how much stuff we line up, people we interview, etc., there are still tons of folks we like to hear from and include in our giant New Year’s/anniversary/birthday activities. So, as we have in past years, we have asked various comics folks what they are excited about for 2012 in comics–something they aren’t working on and something they are.

There’s a lot of great stuff here–hints at new projects and even some downright announcements. Our thanks to everyone this year who responded!

Jason Latour

Loose Ends 4

I’m most anticipating the 30th Anniversary of HEROES CON (June 22-24, Charlotte, NC) . For any convention 30 years is an amazing run, but the fact that Shelton Drum and his extended family have put this show together every year with nothing but blood, sweat and tears is flat out super heroic.

On the personal front, the challenging and exhilarating ride that’s been Loose Ends will come to a close with issue 4. It’ll be bittersweet to send our child off to into the real world but I can’t wait for you guys to see the work Brunner & Renzi are doing.

I’m also super excited to dip my own toes into the Mignola-verse with the BPRD: The Pickens County Horror [March 28, 2012] and to read the end of Jason Aaron & RM Guera’s Scalped, which is my favorite series in years.

Jason Latour is a writer/artist, most recently the writer of Loose Ends. He spoke with Tim O’Shea about the miniseries in July.

Patrick Zircher

This sounds politic, but it’s genuine: what excites me about comics in 2012 is what’s exciting every year, the work of the talent.  Seeing what the best are up to and how the up-n-comers have grown as artists and writers.  In the new year, I’m also excited about illustrating several books and covers that feature my favorite Avengers.

Patrick Zircher is an artist, who explored the 1920s/1930s era of the Marvel universe in 2011 with the five-issue miniseries, Mystery Men. He spoke with Tim O’Shea about the miniseries in May.

Bryan Q. Miller

Happy a Birthday as this is, Robot 6, let’s not get so lost in the celebration that we forget the sacrifices made by Robots 2, 4 and 5 to get you where you are today.

Now that THAT’s out of the way… AVENGERSavengersAVENGERSavengersAVENGERS #Hobbit

Also looking forward (very much) to the end-run on Locke and Key, as well as the next year’s worth of Morning Glories.

And, hopefully, DC will finally announce my secret project. Then there’s that other secret project I’ve done for a secret company. #Secrets

Bryan Q. Miller is a writer for television and comics, most recently of the Batgirl series featuring Stephanie Brown, which Tim O’Shea ranked among his favorite series of 2011. He spoke with Tim O’Shea about Batgirl in March.

Jimmie Robinson

Bomb Queen

I’m quite interested in what the Image Expo will be like in February. The platform is based on Image Comic’s 20 years in the industry, but in my opinion it represents the emergence of the independent creator and publishers and self-publishers of this generation. I’m old enough to have lived through the change of a dependent system where the market was primarily two companies and three distributors. That changed in the late 1980s and early 1990s. I’m not sure if the Image Expo will be a one-time celebratory event or the basis for a yearly gathering but I am excited about it. It’s different from the likes of Stumptown, or APE or SPX, because the independent spirit exists on several layers and I’m not sure publishers on this level have had a real convention just for them.

As for myself personally…
I’m looking forward to seeing the end of the Bomb Queen story arc. In 2012, Vol. 7 *might* be my last run with the character… except for some annual specials and crossovers. I’m not ending it forever, but I might be slowing her down so I can do other books. I’m thinking more how Robert Kirkman handled, Battle Pope. He keeps it in print and brings the character out every now and then to retain control.. but it’s no longer his main focus. By the way… that’s a crossover I would like to see. Battle Pope and Bomb Queen.

Jimmie Robinson is an artist, writer and creator of many titles, most recently Bomb Queen, published by Image Comics.

Rachel Pandich

In terms of projects I am not personally involved in, I know this is going to sound all touchy feel-y and hippy dippy but I am super excited for all the opportunity that 2012 will bring for creator owned and newbies in the comic field. Between projects like Womanthology that show the untapped/underused talent out there and the creator-owned push from people like Niles and Kirkman I have a feeling that 2012 will open up many doors for people. Whether it is acceptance on to an anthology, a chance to work for a favorite company, or getting a bit of spotlight at a convention. There was way too much fire in 2011 about getting new creators out there for that excitement to burn out in 2012, and I am overly excited about that for everyone.

In terms of projects I am personally involved in, this is going to be kind of a “duh” but I’m excited about Womanthology. I can’t wait to see this book in print. I’m also now the events coordinator for Womanthology so any conventions going on in 2012 that want a Womanthology event feel free to contact me. Shameless self promotion, I know. Hooray 2012!

Rachel Pandich is the writer of the eight-issue miniseries, Aspire (Movement Comics). She spoke with Tim O’Shea about the miniseries in August.

Van Jensen

Snow White: Through a Glass Darkly

I’m really looking forward to the Valiant relaunch. I’ve heard just a little about what’s in store, and it’s going to be some high quality comics. It’ll also be interesting to see how it shakes up the market. We’ll learn if DC’s Nu 52 thing has any legs and if Marvel can capitalize on the Avengers. All in all, should be a tumultuous year for the Wednesday crowd.

The big thing I have coming up for 2012 is Pinocchio, Vampire Slayer: Of Wood and Blood, the third book in the trilogy with artist Dusty Higgins. I’m excited to see it wrap up. And then I also have Snow White: Through a Glass, Darkly coming out with artist Robin Holstein. It reimagines the classic fairy tale with the twist that the stepmother isn’t evil. The mirror is.

Van Jensen is a writer of comics, who just happened to be interviewed regarding Pinocchio, Vampire Slayer: Of Wood and Blood just yesterday by JK Parkin.

Johanna Draper Carlson

I’m very much anticipating new work by favorite creators. Alison Bechdel’s Are You My Mother?: A Comic Drama should be one of the books of the year, exploring the (sadly neglected in comic) mother/daughter relationship in a companion volume to her Fun Home. I can’t wait to read Faith Erin Hicks’ Friends With Boys, about a home-schooled girl making friends outside her family for the first time. And one of my favorite manga series, Ooku: The Inner Chambers by Fumi Yoshinaga, will have a seventh volume out. I’m sure there are many more coming I have yet to know about, and that’s what I am most excited by — the continual discovery of excellent work by talented creators.

For myself, I’m eager to keep on as I have been, reading and writing about good comics and sharing recommendations.

Johanna Draper Carlson is a graphic novel, manga, and comic book reviewer as well as the driving critical force behind Comics Worth Reading.

Corinna Bechko

Alabaster: Wolves

I can’t wait to get my hands on Alabaster: Wolves, a miniseries from Dark Horse written by Caitlin R. Kiernan with art by Steve Lieber. I only wish I didn’t have to wait until April!

For personal projects I have to say it’s a tie. I’m really excited about Exile on the Planet of the Apes, the second Planet of the Apes miniseries that Gabriel Hardman and I are writing. Marc Laming has already finished inking the first couple of pages and they look fantastic! But Gabriel and I are also deep into writing a creator owned sci-fi project called Station to Station which I’m thrilled to say will finally be completed in 2012.

Corinna Bechko is a writer (with a zoology background) and frequent collaborator with husband artist Gabriel Hardman. She and Hardman talked with Tim O’Shea about Betrayal of the Planet of the Apes in December.

Lance Sells

Most excited about for 2012? Image Comics. Not sure what their secret sauce is lately but they are on fire and have me buying single issues for the first time in years.

Most excited about personally for 2012? Thwipster Version 2 (with added detergent).

Lance Sells, the co-founder and director of Thwipster (offering “Daily Deals for your Inner Geek”), spoke with Tim O’Shea about the website in July.

Dean Haspiel

Comics writer/artist/publisher, Jimmy Palmiotti, recently Tweeted, “Publish or perish.” Maybe it was end-of-the-year blues but I was feeling particularly bleak about my career and was struck by Jimmy’s charge and asked if we could discuss the origin behind those three ominous words and what I got was a pep talk for a lifetime.

Securing work from franchise publishers is harder than ever before and very few other publishers pay livable advance wages anymore. Most deals are made for royalties and back end rewards based on sales. Print is competing with digital and profits are questionable. Readers want archives and new stories but making money at publishing has become a challenging and schizophrenic mess. The risk for a corporation to launch something new has become greater and all the bean counters what to know before they gamble on your idea is the sales of your last three books and whether or not your comic book idea has multimedia legs and if you have a strong fan base. In other words, publishers hardly publish what they “like” and franchise publishers would rather update 75-year old icons every five years [which they've worked hard to maintain] than build and grow new ideas that inspire writers and artists today. I understand why that is but it’s paranoid, lazy, and shortsighted.

Haspiel's The Last Romantic Antihero

Frankly, pitching proposals sucks right now. What if you don’t have three books and your new idea doesn’t translate to a movie or toy? Worse, what if you do have three books and the numbers didn’t inform the zeitgeist and thrill Hollywood? Why does one thing need to yield the other in order to make a cool comic book? Because comic books don’t sell like they used to. I get it. While the internet leveled the playing field it also made everything a niche. However, the comix industry does have a strong fanbase. I’ve seen them and they are us.

Now is the perfect time for a cartoonist to manifest his or her own industry. We have the DIY tools. We have the social networks and viral know how. We have proof that crowd funding works and community is key. We have a cranky comedian like Marc Maron rise from the ashes of every bridge he ever burned and make his own rules with his WTF podcast, and popular acts like Radiohead and Louis C.K. making affordable, direct deposit products; offers no one in their right mind could refuse, and venues like Etsy and Kickstarter changing the ways we consume by supporting work with our wallets BEFORE it’s made so that it can BE made sans corporate fear and scrutiny.

But, what about us? Viva la Michel Fiffe for self-publishing ZEGAS, a print-only experience that reminds us why magical efforts like Los Bros Hernandez’ Love & Rockets were punk yet vital and stand the test of time. All hail Alex De Campi for recognizing the virtues of the old self-publishing model while implementing new rules with the understanding that in order to hawk your wares you must show up to the party and build sound relationships with the people who produce, distribute, and purchase your wares. Rock out with your cock out Jimmy Palmiotti for having the talent and acumen to keep your feet firmly planted in all ponds while knowing how important it is to be different.

Bottom line: I’m sharing these thoughts to rally myself, too. I count myself lucky to have been paid to make comix and I owe a lot of people my perpetual gratitude. I would love to continue to get hired and occasionally play with the toys I grew up with but I can’t let over-worked editors ignore me or my talented friends, anymore. It doesn’t champion creativity and it doesn’t pay the bills. Indifference only engenders ill-will and I won’t be banished to that bitter cabal of disgruntled cartoonists. “Publish or perish?” So, to answer your question about what am I “most excited about for 2012?” I’m most excited to see comix auteurs bring their A-game and step up to the plate with a hit in their mind and a home run in their heart.

Dean Haspiel is an Emmy award winning artist and a native New Yorker who created the Eisner Award nominated BILLY DOGMA, and launched the webcomics pioneering site, ACT-I-VATE.com. In December, Haspiel joined Seth Kushner & Chris Miskiewicz to talk with Tim O’Shea about Trip City, a Brooklyn-filtered literary arts salon.

Nate Cosby

Cow Boy

I’ll admit I’m not super well-versed on what’s specifically coming up comic-wise in 2012, but I’ll continue to pick up and be excited about anything my favorite creators work on: Roger Langridge, Colleen Coover, Jeff Parker, Fred Van Lente, Greg Pak, Katie Cook, Jennifer Meyer, Ron Marz, Mark Waid, Becky Cloonan, Andy Diggle, J.M. DeMatteis, Mitch Gerads, Declan Shalvey, Jordie Bellaire, Jock, Mike Maihack, David Gallaher, Phil Hester, Evan Shaner, Marjorie Liu, Brian Clevinger, Scott Wegener, Paul Tobin, Chris Samnee, Chris Eliopoulos…and dozens more creators I’d name if I were allowed 30,000 more words. There’s fun in anticipation of a known quantity, but there’s also a joy in walking into a comic shop or surfing a digital app with a totally open mind, and finding something great you never knew existed.

Of all the things I’m cooking up in 2012, Cow Boy has me the most excited. It’s coming out in hardcover in March from Archaia, but we’re putting it online for FREE starting in January. It’s my favorite thing that I’ve written, and I tailor-made it for Chris Eliopoulos to draw. This book is Chris’ artistic coming-out party. I’ve been a fan of his art for a long time, but this really is the best work he’s ever done. The subtlety of emotion and cinematic scope he’s brought to Cow Boy has blown me away. I hope my story is half as good as his amazing art…but if not, at least you’ll have a gorgeous book to look at.

Nate Cosby is co-writer of Pigs for Image, Buddy Cops for Dark Horse, Cow Boy for Archaia. He spoke with CBR-TV  in July.

Laura Morley

I’m excited about the advent of The Phoenix, a new kids’ comic magazine launching here in the UK. There’s so much enthusiasm among kids around comic-book characters and ideas, anything that works to convert that enthusiasm into a lasting love of the medium is A Good Thing in my book.

Of my own projects, I’m particularly excited to have a story in the first issue of Journeymen, a new quarterly designed to showcase work by new creators. Having seen the calibre of some of the artists signed up, this looks set to be a very slick book and I’m thrilled to be a part of it.

Laura Morley is a writer and Womanthology assistant project manager, which will be released this spring. She spoke with Tim O’Shea about Womanthology in August.

Kris Dresen

she said

In 2012 I am most looking forward to the new Chicago Alternative Comics Expo. It’s been ages since Chicago has had an alternative comics show and I’m quite thrilled that CAKE is happening.

Personally, writer JD Glass and I are ramping up the publishing company we founded in 2011 – Outlines Press. One of the books will be the print collection of my web comic she said. It will be available in late spring.

Kris Dresen is a Chicago-based artist and writer.

Dave Roman

I’m really looking forward to Legend of Korra, the spinoff of Avatar: the Last Airbender. Based on the trailer, it looks to be an imaginative follow up to what I consider the most perfect animated action/adventure series ever. I also can’t wait to read Avatar: The Last Airbender: The Promise, the new comic series by Gene Luen Yang and Gurihiru being published by Dark Horse, that will act as a bridge between the two TV series.

In the world of original graphic novels, I’m excited about a lot of what First Second has coming out in 2012. Especially Broxo by Zack Giallongo, which looks like a fresh take on sword and sorcery. And also, the sequel to Zita the Spacegirl by Ben Hatke, which was one of the most fun and visually exciting books of this past year.

Teen Boat!

As far as stuff I have a direct connection to in 2012…

I collaborated with my wife, Raina Telgemeier, on a story for Explorer: The Mystery Boxes (Amulet books). Edited by Kazu Kibuishi, it’s an all-ages anthology with a fantastic mix of scary, mysterious, funny, and action-packed short stories that reminds me of the classic Amazing Stories TV series.

I wrote a book called Teen Boat! (Clarion Books), the comedic tale of a boy who can transform into a yacht, and the jocks and pirates who seek to exploit his boat-tastic powers. Illustrated by longtime friend and collaborator, John Green, Teen Boat! started out as a series of mini-comics that kept growing more ambitious and absurd with each issue. The book will be hardcover and full-color, collecting and expanding on previous material in ways that I think will blow people out of the water (pun intended).

And, Drama (Scholastic Graphix) is Raina ’s follow up to Smile. It’s a similar coming of age story, set in the behind-the-scenes world of stage crew kids producing a middle school play. I think this book will really connect with a lot people (especially teenagers) the same way Smile has, but also showcase a new emotional side to Raina’s work.

Dave Roman is the creator of Astronaut Academy: Zero Gravity and Agnes Quill: An Anthology of Mystery. He lives in New York City with his wife, Raina Telgemeier. He spoke with CBR’s Alex Dueben about Astronaut Academy in June.

Paul Cornell

Saucer Country

I’m excited about Scott Snyder’s ongoing work in the new DC universe, including Swamp Thing and Batman. He’s been the absolute breakout talent of 2011, not just successful with the audience, but also artistic and stylish. His closing run of Detective Comics was a tremendous thing to behold.

In terms of my own work, it’s Saucer Country that I have to mention. This is the story I’ve been working on in the back of my head for decades. Ryan Kelly’s art is a joy. It’s The West Wing does The X-Files, and it lets me use all the UFO mythology that I’ve been researching as a hobby since I was eight. I like to think we’ve done something original and truthful with it, and that we’ll scare you witless.

Paul Cornell is a prose novelist as well as writer of many things for TV and comics, including the DC ongoing, Demon Knights. He talked to CBR’s Jeffrey Renaud about Saucer Country in November.

David Liss

One of my favorite reads of 2011 was Charles Soule’s horror/rock comic 27 with Image, so I’m very much looking forward to his Strange Attractors from Archaia, which promises to be weird and intriguing in all the best ways.

As far as my stuff goes, I’m very excited about doing The Spider with Dynamite. I love pulp, and it’s been such an interesting experience re-working one of the great pulp characters into a contemporary setting. Plus, Colton Worley’s art is absolutely breathtaking.

David Liss is a writer of prose and comics. He spoke with Tim O’Shea about Black Panther: The Man Without Fear in January.

Charles Soule

I’m incredibly excited for Saga, Brian K. Vaughan‘s return to comics. Also really looking forward to the conclusion of Locke & Key (I think that’s supposed to finish up in 2012), seeing how digital develops, Dark Knight Rises and the amazing, out-of-nowhere creator-owned stuff that always shows up to blow everyone’s mind EVERY year.

Strange Attractors

As far as my own work, I have a beautiful graphic novel entitled Strange Attractors, to be published by Archaia later this year. It’s about people who have figured out how to use New York City as a sort of engine, and an ensuing fight over the key. I’ve lived in NYC for more than fifteen years, and it’s my love letter to the city. Pencils/inks are from Greg Scott, with Art Lyon on colors. It’s looking amazing, and should be on shelves around summer or fall.

The other big project I’ve got in the hopper is called Letter 44. It was just picked up by a fantastic publisher, literally this week, so I can’t quite give all the details yet, but it’s a real-world political sci-fi thing. Sort of 24 meets 2001. The art is from a newcomer named Matthew Childers, and it’s going to be a real humdinger. We’re planning it as a mini-series, and it will probably be out around Q4 2012.

There are other things in the works, but we’ll see if and when they appear. Go comics!

Charles Soule is a Brooklyn-based writer and musician. He spoke with Tim O’Shea about 27 in June.

Ben Towle

Barnaby!!! I’m really excited that finally there’s going to be a complete collection of Crockett Johnson’s amazing newspaper strip Barnaby. I’d be stoked about pretty much any collected Barnaby, but I’m ecstatic that Fantagraphics is publishing it and that Dan Clowes (!) is doing art direction. There’s no way this can’t be great.

Oyster War

I’m pretty excited that I’ll be passing the half-way point with my webcomic Oyster War sometime in 2012, but event-wise I’d have to say I’m most excited about SPX this year. I had to miss SPX 2011 because of a wedding–the first time I’ve missed an SPX in around a decade–but I’m for sure going this year. I’m considering trying to organize some sort of “Alphabet Collective” table to sell A-Z minicomics by folks who’ve completed full alphabets from our Animal Alphabet and AlphaBeasts projects.

Ben Towle is a cartoonist and self-described occasional teacher who spoke with Tim O’Shea in April.

Chris Roberson

I’m really looking forward to the new Adventure Time comics that BOOM! is doing with Ryan North and Shelli Paroline. My seven-year-old daughter and I watch every new episode of that cartoon together, usually more than once, and we can’t wait to check out the comic. And on a personal level, my wife Allison and I are looking forward to finally making our long discussed move to Portland this coming summer, where we’re told that sometimes water falls from the sky; having lived for so long in a place where it gets hot enough in the summer to LITERALLY burst into flames, some water falling from the sky sounds pretty awesome to us.

Chris Roberson is a writer of prose and comics, based in Austin, Texas, at least for a few more months. He spoke with Tim O’Shea back in May.

Johnny Bacardi

Hey, I just found something I’m excited about for 2012- the newly announced Courtney Crumrin color ongoing! CC was one of my favorite comics series of the last decade, and I hope it gives Ted Naifeh the spotlight his work deserves.

Sadly, I am working on nothing that has me excited. C’est La Vie.

Johnny Bacardi is a comics and pop culture critic.

Landry Walker

I’m psyched to see comics continue their move into a digital medium; an idea I’ve been championing that damn near got myself and artist Eric Jones laughed off a panel just 6 or 7 years ago is finally on the verge of being properly embraced.

In regards to art rather than industry evolution, I’m looking forward to seeing if Tom Neely has anything new coming out; the diversity in his work continually impresses me. I hear Ted Naifeh has some more Courtney Crumrin coming up, which is something I always look forward to.

Danger Club

Outside of stuff being produced by my friends, I’m interested in seeing how Watchmen 2 develops. I don’t know if it will be good or bad, but I find the challenge fascinating and I’m curious to see the end result.

As for myself, I’m working on several book projects with Disney/Marvel that I’m looking forward to seeing in print. Most of all though, I’m excited to see Danger Club released. Eric and I have been working on this book for a couple of years now, and it’s finally ready (with Image Comics in April 2012). The basic concept is kind of like Teen Titans meets Lord of the Flies. All the world’s adult heroes leave the Earth to battle an unimaginable evil and never return, leaving the sidekicks behind with the looming threat of impending doom for the entire planet.

There’s also the cartoon adaptation of my and Eric’s comic horror movie inspired series known as Little Gloomy – now known as Scary Larry. I believe we will see that airing this year. I’ve seen a couple of episodes and am very happy with how the material has translated.

Landry Walker writes comics, and spoke with CBR’s TJ Dietsch about Danger Club in July.

KC Carlson

For me, this year is a bit of “everything old is new again!” With so many major comic book projects personally disappointing lately (I’m finding much more pleasure in smaller, well-told stories, but publishers seldom advance-promote those, no?) I’m mostly looking backwards for good stuff, with all the new and continuing comic strip collections and creator-focused archival works. I’m also really into animals this year. I’m excited about getting regular doses of Carl Barks’ ducks (haven’t read any in over 25 years), Walt Kelly’s possums and gators (very little prior exposure for me, except for collections checked out of the library as a kid), Floyd Gottfredson’s mice (never before read), and Berkeley Breathed’s penguin (gave up reading them at the time, as our local paper reduced it to the size of an index card). For (little) people, there’s Crocket Johnson’s Barnaby (never read), Charles Schultz’ Peanuts (entering into an era I’ve never read), and the slightly older teens of Bob Montana’s Archie gang (never seen these –now in color with the first collection of Sunday strips!). I’m also hopeful that sales were great on Sheldon Mayer’s Sugar and Spike Archives, so we can get a second volume sometime soon (because I only started reading this great series much later)!

It also looks like a great year for comic book films. I think many moviegoers are most interested in Batman: The Dark Knight Rises, but I’m a big fan of the ensemble structure, so I am very interested in this summer’s The Avengers. Of course, I’ll be seeing both.

KC Carlson, former comic book retailer, distributor, and editor, contributes to the Westfield Blog and Comics Worth Reading “while participating in various behind-the-scenes plotting to either save the industry — or destroy it.”

Doctor Strange Season One

Greg Pak

I was blown away by the success of so many comics projects on Kickstarter in 2011 — I’m hopeful that 2012 may be a watershed year for diverse projects finding and growing comics-reading audiences via crowdfunding venues like Kickstarter and IndieGoGo.

On a personal front, I’m thrilled to be writing Doctor Strange Season One, which Emma Rios is pencilling. Strange is one of those characters I’ve been dying to write as a lead for ages, and I couldn’t be happier.

Greg Pak is a filmmaker and comics writer, who spoke with Tim O’Shea about Bill Mantlo in November.

Joe Keatinge

What I’m Not Involved In: I’m extremely excited for Corey Lewis’ Sharknife Double Z from Oni Press. Its been in the works for a very long time, but from what I’ve seen I’m very confident it will be worth the wait. I was lucky to get a sneak peak at some unseen pages and it’s definitely the best work of his career. Furthermore, I’m excited to see where he goes next after scaling this artistic Everest.

What I’m Involved In: I’ve got a number of books coming out, like HELL YEAH and GLORY and a couple that aren’t announced yet, but I have to say I’m way excited about attending this year’s Angouleme Festival of Bande Dessinee. It’s what replenishes my creative juices every year. Always a damn good time. You get exposed to so much you never see state side. Can’t wait to be there.

Joe Keatinge is the writer of several of your favorite comics of 2012, including Glory and Hell Yeah.

Janet K. Lee

Comic-wise, what are you most excited about for 2012?

Time of the Dapper Men

I’ve only seen a few images from Blue, which will be published by Top Shelf in March, but they are amazing. And that’s my fault since the entire comic is available online! Blue is the debut graphic novel from an Australian creator named Pat Grant; it sounds like a magical Huckleberry Finn tale. I’m sold!

I also cannot wait until April for Mind the Gap by Jim McCann/Rodin Esquejo/Sonja Oback. The concept, of course, has me completely hooked: girl tries to solve her own attempted murder while hospitalized in a coma. But Jim keeps showing me art as well, and oh-my-god is it beautiful. An absolute must-buy.

Then there’s Dark Crystal: Creation Myths from Archaia: it just came out this week, but I haven’t gotten my hands on a copy yet. But I will! Dark Crystal has been one of my favorite films since I was old enough to appreciate film, and I’m positively giddy with anticipation.

Comic-wise, what are you most excited about for 2012?

Personally, I’m probably most excited that Time of the Dapper Men will be coming out next year. I was proud of the work Jim and I did for Return of the Dapper Men, but after a year of working on the adaptations of Jane Austen’s Emma and Northanger Abbey for Marvel, I feel my own art has really grown and evolved. And then the scope of Jim’s story is epic and grand. Every day I work on it is a day filled with joy.

I’m also thrilled to be a contributor to Womanthology: Herioc which will arrive in stores next February. I got to collaborate with two wildly talented writers, Jenna Busch and Rachel Pandich, on our short story, and the book is simply chock-full of truly legendary talent. I can’t wait to get my copy.

Janet K. Lee is the artist of Return of the Dapper Men, the upcoming Time of the Dapper Men, Jane Austen’s Emma and Northanger Abbey, and more. She also makes rad Christmas ornaments.

Andy Hirsch

Comic-wise, what am I most excited about for 2012? Seeing creators and publishers continue to work towards figuring this whole digital thing out. Would it be too much to hope for a shift towards a common file format and pricing enticing enough to attract an even broader swath of readers? Oh, and if I can sneak one more in here: Tom Fowler on Hulk: Season One.

Andy Hirsch is the creator of Varmints and illustrator of SLG’s The Royal Historian of Oz.

Faith Erin Hicks

Friends with Boys

Comics by others: I believe the English publication of Naoki Urasawa’s 20th Century Boys will wrap up in 2012. There are six volumes left and they come out every other month, so it should be finishing at the end of 2012. I’ve been enjoying the insanity of this series, and am really curious to see how Urasawa will wrap things up. Will it be a satisfying ending, or a house of cards collapse? I can’t wait to find out. On the North American side of comic making, I’m really looking forward to Raina Telgemeier’s new graphic novel, Drama, which is about a school stage tech crew. One of my few fond memories of high school was being on the stage crew for a couple of plays, and I’m looking forward to see what Raina does with the set up. If it’s half as good as her last comic, Smile, it’ll still be a pretty great book.

As for my comic-related contributions to 2012, I have a couple of things I’m looking forward to. My graphic novel Friends With Boys will be published by First Second Books in February 2012, so please pick up a copy! It’s a sort of but not really autobiographical story of a homeschooled girl following her three older brothers into public high school (I was homeschooled and have three brothers, so I have some experience with this scenario). Friends With Boys has been running online since August as a part of First Second’s webcomic initiative, and the reader response has been a lot of fun. If you’re interested in the comic, you can check it out here: http://www.friendswithboys.com

I think I also have a second graphic novel coming out, although I’m not sure of the publication date. I’ve been drawing a young readers graphic novel called Bigfoot Boy (written by J.Torres), which I think will be out from Kids Can Press in the fall. It’s really cute and fun, and I think a lot of kids will like it, so do get it for the eager young comic reader in your life.

Faith Erin Hicks, as she noted above, is the creator of the upcoming Friends with Boys, as well as War at Ellsmere, Superhero Girl and Zombies Calling.

Ben Morse

I’m excited about Marvel.com as a whole. A bit of a cheat to answer, but it’s legitimate. There are so many great comic book resources (see what I did there?) out there on the Internet these days that I’m proud we’ve been able to do what we do as a corporate site. Being part of Marvel has never hindered our creativity, it’s only helped. That comes down to our editorial staff, from Ryan Penagos to Marc Strom to Janna O’Shea to all our great freelancers; to our amazing video team of Jason Harvey, Ramon Olivo and Todd Wahnish; to the folks within the other departments at Marvel like Arune Singh, James Viscardi and all the tremendous editors who help us out; and the rest of the Digital Media Group who actually understand how to make a web page work (I do not). With all this work and support, we’ve been able to, in addition to our extensive editorial work, do things like our live streaming coverage of conventions, our new This Week in Marvel podcast, the recent event where we announced AvX and the audio version of Daredevil #1. I’m excited to keep going with all of this stuff as well as expanding our reach and variety of projects. Marvel digital is a very exciting place to work and I’m fortunate to be a part of it.

On a more personal level, my favorite thing to do is produce the Marvel Super Heroes: What The–?! stop motion series with the brilliant Alex Kropinak and very handsome Jesse Falcon, so I’m pretty pumped to get back to a regular schedule on those, particularly with the Oscars coming up in a few months as we always have fun with that.

I’ll cheat once again as far as what I’m looking forward to from others (I’m terrible) as while I didn’t work directly on Secret Avengers or Scarlet Spider, I got to be in on the ground floor with Rick Remender, Chris Yost, Ryan Stegman, et al as far as promoting them, and from what I’ve seen there are few books I’m more excited for coming out the gate in 2012. Remender can do no wrong right now and the Scarlet Spider boys are enthusiastic as all get out.

From my buddies, I’m looking forward to Sean T. Collins hopefully doing more mainstream work, Phil Jimenez’s gorgeous art on Fairest, and seeing what exactly Alex Segura has in mind as a next step after teaming Archie with KISS. I’ve got my fingers crossed for Archie/Motley Crue in 2012.

A fixture at Marvel’s booth and panels during conventions, Ben Morse is associate editor of Marvel.com, future heavyweight champion of the world and has even written a comic for Marvel on occasion. When he isn’t working, he likes to hang out at the Cool Kids Table with CBR’s Kiel Phegley.

Matthew Petz

War of the Woods

I’m obsessed with everything about The Dark Knight Rises, and I can’t wait to see that on the screen. Beyond that I’m really excited to see what happens in digital. I think 2011 will be seen as the year digital broke through in a real and substantial way, and 2012 will be even more innovation and acceptance.

One of the reasons digital is so interesting to me is my own book, War of the Woods, is coming out that way. Season One is done and available through Comixology. So what I’m MOST excited about in 2012 is getting Season Two going. If you’re interested, you can to warofthewoodscomic.com for news and to follow along as I make the comic!

Matthew Petz, as he noted above, is the creator of War of the Woods.

Robin McConnell

I am most excited about the growth of fascinating small press work is experiencing. Conventions like BCGF and TCAF are showing just how diverse the market is and that young new readers are looking for options beyond what can be found in the average brick and mortar stores that make themselves solely dependent on the archaic offerings of Diamond distro.

As far as particular comics go, Brandon Graham’s Multiple Warheads and Prophet are both looking to be great offerings that show a remarkably different direction that mainstream markets have a potential to go in. Fantagraphics is doing some amazing archival projects that I can’t wait to sink my teeth in, like the EC collections of Wally Wood and Harvey Kurtzman.

2012 is going to be a busy year for me. I have started doing video interviews with my friend Daniel Giantomaso. We have done two videos so far, the first with Brandon Graham and the more recent with Anders Nilsen.

Daniel and I will be posting video’s early on in the new year with David Lasky and Peter Bagge and much more to come.

I am also doing a couple of small press publishing projects. After a lot of talk and dares among friends, I am putting together an anthology of comics that take place in the Gossip Girl universe. So far, the interest has been great, with folks like Michael Deforge, Benjamin Marra, Corey Lewis and much more wanting to take part.

My other collection will be tied into my art selling website, www.mcconnellart.com. I am putting together a 100 page sketchbook of the work of Brandon Graham. He has stacks of these great sketchbooks which will serve as nice compliment for fans. All work that I am publishing will be done on the cheap, to keep costs for consumers to a minimum. I am pretty excited about these new projects.

On top of this, inkstuds will continue as strong as ever with new audio interview every week.

Robin McConnell is the host of the awesome interview series Inkstuds.

Ian Harker

Rub the Blood

Like many on the East Coast I’m still riding the wave of excitement that was the Brooklyn Comics & Graphics Fest. That show is as good an indicator of our “state of the art” as anything, so looking forward to 2012 I’ll take my tips from what I saw. For starters it seems as though the art comix landscape may finally be turning the corner on the Fort Thunder aesthetic. The hot ticket at BCGF was everything post-manga. “Post-Manga” is a term I’ve heard thrown around lately and I think it’s appropriate. It’s a demographic inevitability that many close observers saw coming, the post-art school echo of the early-2000′s manga boom. The kids who were snatching up Pokemon cards by the hundreds 10+ years ago are making the sickest art comix on the scene now. Artists like Jonny Negron, Michael DeForge, Mickey Z, Zach Hazard Vaupen, etc. The current standard bearer for the style is Ryan Sand’s Thickness anthology, which sets the new bar. What I’m looking forward to most in 2012 is seeing how this decade continues to develop it’s own aesthetic identity.

In Philly we’re hitting the ground running in 2012, first with our Rub the Blood art show opening at Brave New Worlds comics gallery in Old City, Philadelphia on January 6th. The show will feature art by Victor “Bald Eagles” Cayro, Keenan Marshall Keller, Josh Bayer, Box Brown and more. Up next is Secret Prison #666 which will be co-edited by Pat Aulisio of Yeah Dude fame. It’s the last free tabloid-format issue of the series and will feature 100% crazy collaborations with artist pairs teamed up by me and Pat as though we were Ted DiBiase and King Haku picking Survivor Series teams. If you want in on it hit me up! Closing out the year we’re taking Secret Prison in a new direction with our most ambitious format to date. SP7 will be published by Retrofit Comics and will comment on the aforementioned post-manga wave churning in alternative comics.

Ian Harker is editor of Secret Prison and co-editor of Rub the Blood, an art comix tribute to the Image Comics line of the ’90s.

Christopher Butcher

It’s a little unspecific, but the thing I’m looking for the most in 2012 is probably getting to the end of it, and seeing how many amazing manga, comics, graphic novels, classic reprints, art books, and more we’ll have seen published in the medium. I look back at 2011… the past few years really… and they’re filled with wave after wave of excellent comics. There always has been and always will be the crap, but 2011 was a constant struggle to keep my weekly purchases from getting completely out of control. As 2012 sees my favourites continue and brand new works rise to take their place? Well, it’s a great time to love comics. Special shout-outs to some of my favourite series and books including Criminal: Last of the Innocents by Brubaker and Phillips, Cross Game by Adachi, Love & Rockets by the Hernandez Bros., Walking Dead by Kirkman and Adlard, and Zoo In Winter by Taniguchi, amongst dozens of others I enjoyed and dozens still yet to be read.

In 2012 I hope to meaningfully contribute to the enjoyment of readers and the enrichment of the medium with TCAF 2012 – The 2012 Toronto Comic Arts Festival. I’m the Festival Director (in addition to my other responsibilities) and I can say that this will easily be the biggest Festival yet, and one of the most diverse and unique ones as well. I think people are going to be really happy with it. TCAF 2011 featured a lot of amazing cartoonists who had a great year as exhbitors– Kate Beaton (Hark A Vagrant), Michael DeForge (Lose), Ray Fawkes (One Soul, Possessions), Stuart & Kathryn Immonen (Fear Itself), and Jeff Lemire (Animal Man) for example–and I think 2012 is going to be another stellar year that’s really going to set the tone for the year’s great comics.

In all of the stuff I do, blogging, at TCAF, or at The Beguiling, I’m glad to be able to work with such great creators, to support and promote the work that’s important to them, and I’m hoping that 2012 is more of the same.

Chris Butcher is a comics retailer, organizer of the Toronto Comic Arts Festival and comics blogger.

MK Reed

I’m most excited for Rich Tommaso’s The Cavalier Mr. Thompson, Prophet, and for the love of Pete would someone translate Ulli Lust’s Today is the Last Day of the Rest of Your Life into English already!

On the work side of things, I’m excited to work with some awesome artists this year on a few different projects, least secret of which being aboutabull.com.

MK Reed is the writer of Americus and creator of Cross Country.

Ian Brill

What I am excited for in 2012: Fantagraphics’ EC Comics reprints. I have a great fondness for these comics. For one, they’re the greatest realization of the sci-fi/horror/war anthology, a format we’ve by and large lost. Also, these comics offer a snapshot of a fascinating time for both the comics industry and the United States as a whole. I was very pleased to hear that Fantagraphics will collect these stories by artist. To have an entire tome that’s Wallace Wood from cover to cover is irresistible.

What I’m excited for myself for 2012: I am going to destroy the world and re-create it. In a comic book that is. I’m working with some amazing artists on an original project that is equally challenging and exciting. But isn’t that how creating your own book should be? More info as we get closer to publication.

Ian Brill is a former editor at BOOM! Studios and writer of such comics as Darkwing Duck and Chip ‘n Dale Rescue Rangers.

Justin Aclin

I think 2012 is going to be a landmark year for creator-owned comics…I’m pretty sure all of my favorite creators have creator-owned titles coming out this year! I’m especially looking forward to Brian K. Vaughan and Fiona Staples on Saga, plus whatever Mike Mignola and company are cooking up for the BPRD next year, and The Sixth Gun from Cullen Bunn and Brian Hurtt continues to be one of my favorite monthly comics. There’s so much exciting stuff out there that’s not superheroes, and I say that as an enormous superhero fanboy. (Oh, and The Avengers movie should be pretty cool, too.)

As for personal projects, I know it’s annoying when people say “It’s too early to talk about so and so,” but it’s enormous enough news for me that I’ve even got something that it’s too early to talk about. Something is coming, and it’s very exciting. Other than that mystery, I’m in the early stages of working on a new project with my Hero House artist Mike Dimayuga, who is always fantastic to collaborate with.

Justin Aclin is a former editor of ToyFare magazine and is also the writer of such comics as Hero House and S.H.O.O.T. First.

Jim Zubkavich

Comic-wise I’m really excited about Image Comics’ 20th anniversary as they keep on rolling with a great slate of new creator-owned books and their Image Comic Expo coming up in February to really kick-off the 2012 convention season. This industry is powered by new ideas and creator-owned concepts are leading that charge,

As far as personal projects go, I’m incredibly excited about releasing the third arc of Skullkickers from Image starting in April and Makeshift Miracle book 1 from UDON Comics in May.

Jim Zub is the co-creator and writer of Skullkickers from Image Comics and the creator of Makeshift Miracle, UDON’s online graphic novel serializing with new pages every week at www.makeshiftmiracle.com.

Stuart Moore

NOT PERSONALLY INVOLVED: I really want to see what happens in the digital space this year. I have a feeling we’re going to start seeing original, creator-owned comics released in a variety of new ways.

PERSONALLY INVOLVED: I’m extremely proud and happy to be writing the first new Marvel Comics prose novel, an expanded and updated adaptation of Civil War. And I’ll be editing the subsequent novels, too, so it’s a whole exciting new version of the Marvel U that I’ll be playing with all year.

In addition to working Marvel’s prose project, Stuart Moore is also a former Vertigo and Marvel editor. He has written comics like Namor, Shadrach Stone, Wolverine, Firestorm and many more.

Jamie S. Rich

The Girl Who Owned a City

1. I am excited for the publication of Baby’s in Black: The Story of Astrid Kirchherr & Stuart Sutcliffe, written and drawn by Arne Bellstorf, in the United States. I have a copy of the UK edition I borrowed from Mike Allred, the ultimate Beatles fanatic, but I want to get my own and I also want others to read it. First:Second has picked up the rights.

I’m also stoked for Joëlle Jones’ to have two new books next year. The Girl who Owned a City is out in April from Graphic Universe, and her art on the comic is phenomenal. Dan Jolley wrote the script, adapting the classic young adult novel by O.T. Nelson. It’s set in a future where all the adults have died, and Joëlle’s inks have a gritty feel to them we haven’t really seen from her before. It should also carry over nicely into a project she has that I can’t talk about yet, but is due in the fall, that will really knock some people for a loop. If you think you know what she’s capable of, you have no idea!

And are those spiffy Paul Pope THB reprints happening in 2012?

2. Most of my stuff is still hush hush and under embargo and the like, but I have my comic with Natalie Nourigat coming, and it looks like it’s going to be in the autumn. She finished drawing it in early December. (By the way, can I also add Natalie’s Between Gears collection that Image is putting out?)

art by Natalie Nourigat

In addition to that, I have something cooking with Mike Norton that should be out by the end of the year, but we’re just in the middle of him drawing the first issue, so I don’t know, we have a publisher but we haven’t pushed it onto the schedule yet.

art by Mike Norton

Most immediate in terms of release, the Madman 20th Anniversary Monster is coming out on Jan. 18. I helped Mike Allred compile it, and also contributed the script for a two-page framing sequence that Jim Valentino pencilled and Mike finished. There is a new Allred story and also 20 new one or two-page comics by guys like Pat McEown, Dave Cooper, Darwyn Cooke, Peter Milligan and Philip Bond, Matt Wagner, Steven T. Seagle and Teddy Kristiansen, and all three Hernandez Bros. Plus, every Madman-related pin-up we could fit in, including some you’ve never seen before. It’s 11 X 17, hardcover, HUGE!

Finally, I’m going have a short story with Megan Levens coming up in Tim Seeley and Mike Norton’s Double Feature early in the year. I am excited to be a part of their crazy digital adventure, and Megan and I have been wanting to work together for a while. Hopefully this is just the start!

art by Megan Levens

Jamie S. Rich is a writer who regularly publishes through Oni Press, and quite often with the likes of Joëlle Jones, Nicolas Hitori de, and soon Natalie Nourigat and Dan Christensen. His most recent comic book release was Spell Checkers, vol. 2: Sons of a Preacher Man. You can read his sort-of kind-of frequently updated blog at http://www.confessions123.com.

Ron Richards

The thing I’m most excited for in 2012 is Image Comics. With 2012 being their 20th anniversary, it looks like it’s going to be a huge year for the publisher. In February we’ve got the Image Expo, which will kick off the con season of 2012. In terms of books, I can’t wait for Fatale from Brubaker and Phillips, Saga from BKV and Staples, and a new series from Hickman and Pitarra. I’ve said it before and I’ll say it again, the real innovation and “new” in comics is coming from Image Comics and I can’t wait to see what else they deliver in 2012. Lucky for me, I get to talk about all these great comics at iFanboy.com as well as get to help Image Comics by being one of their digital comics solution partners through my gig at Graphicly.com – But even if I wasn’t in a spot to work directly with Image, I’d be as big of a fan as I was back in 1992 when they first started. They are by far, the most exciting thing going on in comics right now and hopefully for all of 2012.

Ron Richards is one of your hosts at iFanboy.com, and is also vice president of external relations for digital comics providers Graphicly.

Jim Gibbons

The Massive

I’m extremely excited to finally get my hands on Avatar: The Last Airbender—The Promise by Gene Luen Yang and Gurihuru, who are working alongside series creators Michael Dante DiMartino and Bryan Konietzko. I’m an enormous fan of the animated series and I’m so psyched they’re continuing the story in comics. After rewatching the series a few times, it’s going to be nice to finally see what happens with Aang and the rest of the crew after the end of Season 3. The fact that Dark Horse is publishing it is a nice perk, as well.

I’m wildly jealous that BOOM! Studios will be publishing Adventure Time comics in 2012. I think Ryan North is going to do a great job on them and I’m really looking forward to reading them!

I’m looking forward to finally reading Joe Keatinge’s Glory and Hell Yeah! The guy won’t shut the fuck up about them, so I’m curious to actually read the fucking things. (I’m giving Joe Keats a hard time here as he’s been hyping these books like nobody’s business—and more power to him for that! You know I love ya, Joe! And, comics-savvy person reading this article, I am legitimately looking forward to these bad boys. You should be too!)

I think BKV and Fiona Staples’ Saga is going to be the bee’s knees and I’m excited to see Nate Cosby and “Doc” Shaner’s Buddy Cops premiere in Dark Horse Presents, as well! I’m also real curious to read Keith Giffen’s Superman—love that guy’s writing!

As for stuff that I’m working on in 2012 that I’m excited about, I really can’t stress enough how insanely great Brian Wood’s The Massive is going to be! It kicks off in January’s Dark Horse Presents #8 and that is really just the tip of the iceberg. The issue #1 script blew me away and the Kristian Donaldson art I’ve seen so far has been staggering. This will be your new favorite series of 2012, folks. Make a note!

The Massive

Speaking of Mr. Wood, I’m also jazzed to be working on the complete collection of his first series Channel Zero. This is going to be a beautiful comics tome, a necessity for your bookshelf. Keep an eye out for it this summer!

David Lapham and Mike Huddleston are absolutely killing it on Guillermo del Toro and Chuck Hogan’s The Strain. This book kicks it up about 25 notches in 2012, so buckle up!

And then there’s… aw, crap! I can’t talk about those yet… Get excited though, folks! Lots more good stuff from Dark Horse headed your way this year!

Jim Gibbons is an assistant editor at Dark Horse Comics, where he works on a whole bunch of titles, including Brain Boy!

Rick Marshall

At this point, the comics project I’m most excited about for the upcoming year is Doctor Who–specifically, Joshua Hale Fialkov’s debut as the new writer on the series. Former writer Tony Lee did an absolutely brilliant job of capturing the show’s appeal during his run on the comic, so Fialkov has some big shoes to fill. The fact that he’s not British has some fans concerned, but I had a long chat with him during New York Comic Con and I’m not worried at all. He has some great stuff planned for The Doctor, and I’m looking forward to seeing where he and artist Matthew Dow Smith take the series in 2012.

Outside of print, in addition to the obvious, big-budget movie events like The Avengers and The Dark Knight Rises, I’m also really excited about the premiere of the Powers television series. Brian Michael Bendis has been talking about this project for years now, and after seeing it hop around Hollywood for so long, it’s great to see it finally come together. It feels like the time is right for this one, so here’s hoping it lives up to the high quality of its source material.

Rick Marshall is a full-time journalist, professional geek, occasional photographer, indentured servant to incestuous cats, unwilling party host, speedy talker and obsessive story collector. I stole that description from his blog. Professionally you can find over at IFC Fix.

Ilias Kyriazis

Well I am a big fan of Brian K Vaughan so I cannot wait for his return to comics with Saga. I’m also very excited about Ann Nocenti’s upcoming run on one of my favorite DC heroes, Green Arrow and I want to see more of my new favorite comic, Wolverine And The X-Men. Last but not least I love it that after decades of waiting I’ll have the opportunity to buy a collection of one of the best comics of the 80s, Strikeforce Morituri. I’ve only had my dog-eared Greek reprints and it’s a story that deserves to be in a nice trade paperback.

And that’s strictly about comics, there’s also that Avengers movie…

On a more personal level I’m hoping to find a publisher for my new sci-fi/horror/drama comic, Elysium Online. And maybe do more with my characters from The Dragon And The Ghost.

Ilias Kyriazis is creator of the comics Blood Opera and Manifesto in his home country of Greece and, on this side of the Atlantic, Ghostbusters: Displaced Aggression and Falling for Lionheart from IDW. He also draws a lot of fun things I like to link to.

Ryan Cody

One of the things I am most looking forward to is some of the BPRD projects coming out. Scott Allie and Mike Mignola have picked some great artists to add to their roster. I’m excited for books by James Harren and Jason Latour. I am also really looking forward to Punk Rock Jesus from Sean Murphy. I hope that makes it out in 2012, it’s probably the book I am most looking forward to right now. Sean’s work is always amazing and I think it’ll go up another level working on his own book. Polly and the Pirates Vol.2 I have been waiting on for a long time. My kids and I love the character and Robbi Rodriguez’s art on it looks fantastic. Other than that, I tend to follow artists so I jump around a bit. Give me a solid story with great art and I’ll read it regardless of publisher or character. One thing I hope to see is more diversity in the type of art showcased by the Big 2. There are a lot of energetic, exciting and very talented artists just on the fringe right now, and I’d like to see them pushed forward instead of much of the bland, boring art that is at the forefront in most high profile books.

For me in 2012, the only thing I have that I can announce is a Sparrow short story I am doing for Red 5 comics as part of their Atomic Robo anthology. My story takes place in 1944 and is written by Brian Clevinger. It’ll be a full 24 page story, broken up throughout the six issues. I am currently working on a five issue series that has not been announced that should be out in 2012 as well, hopefully sometime around summer. I’ll be relaunching my creator book ICARUS as a webcomic as well, sometime in late spring. As always, you can see what I am up to by going to http://super75comics.wordpress.com/

Ryan Cody is an artist and writer whose past credits include ICARUS, Jesus Christ: In the Name of the Gun V2 and Villains. See more of his work at http://super75comics.wordpress.com/

Ryan Penagos

2012 is gonna be pretty fun, particularly from us at Marvel. We’ve got plenty of unannounced stuff, all across the board, hitting in 2012 that’ll be killer. I’m involved with some of those projects on a few levels, but for stuff that I’m implicitly involved in at Marvel, I’d have to say I’m most excited for a few video projects on the way. Our Marvel LIVE shows and experiences were a blast—from the Avengers vs. X-Men kickoff event to our live convention coverage and red carpet events—and we have some cool stuff planned for the new year. There’s some more original video content from Marvel Digital Media, but more about that in the coming months. Also, from Marvel, don’t forget Marvel’s The Avengers and Avengers vs. X-Men.

As for stuff I’m not quite so involved with, I’m really psyched for convention season 2012, especially WonderCon. I love San Francisco, but Anaheim has Disneyland and tacos. Oh, also, that Prometheus movie. That looks rad!

Social media megastar Ryan Penagos, aka Marvel’s Agent M on Twitter, is executive editorial director of the Marvel Digital Media Group Marvel.com. He also loves tacos.

Joey Weiser

Mermin

Something that I’m not personally involved with that has me excited for 2012 is the launch of Viz’s Shonen Jump Alpha.  For those who haven’t heard, it’s a digital serialization of some of Shonen Jump’s top titles in English, and only a couple weeks behind their release in Japan.  I’m looking forward to seeing how this experiment develops and its effect on the international comic world.

As for personal projects in 2012, I’m very, very excited about something that will be announced later this year.  But since it hasn’t been announced I can’t say anything about it yet!  Something that I can talk about though, which I’m also looking forward to, is that at this moment I’m working on a brand new Mermin mini-comic, which should see publication this Spring.  It will have a couple short stories, including one that I had started a long time ago for Flight and never completed, a totally new story that I’m in the middle of drawing right now, and maybe a few more odds and ends.  We’ll just have to see!  So keep an eye out for a new Mermin mini-comic and an announcement about… something later this year!

Joey Weiser is the creator of Cavemen in Space, Monster Isle, The Ride Home and Mermin. He also writes the Spongebob Squarepants comic.

Ross Campbell

I’m really into IDW’s new Teenage Mutant Ninja Turtles series by Kevin Eastman, Tom Waltz, Dan Duncan, and a few other various artists. I can’t wait for more, especially after the awesome issue #5 and the great Raphael one-shot.

Leonardo by Ross Campbell

2012 has a few things for me, the new Glory relaunch for Extreme Studios/Image I’m doing with Joe Keatinge kicks off in February, the long-delayed 6th volume of my Wet Moon series finally comes out in October which is a big deal for me, but I’ll keep this all Ninja Turtles: I’m drawing the upcoming Leonardo one-shot for IDW which drops in April I believe, and I’m super pumped!! The old Eastman and Laird comics are what set me on the comics path, and I’ve had a few close brushes with drawing TMNT comics over the years and I’ve done a few covers when they were still with Mirage, but Leonardo will be my first actual TMNT comic.

Wet Moon Vol. 6

Ross Campbell is the creator of Wet Moon, Shadoweyes and Mountain Girl, and is the artist of this year’s Glory revival.

from Matthew Petz

It’s Christmas Eve, and we’re winding down here at Robot 6 to go spend time with family and friends. Before heading off to celebrate, though, you’ll find a collection of holiday-themed links after the jump, along with this year’s collection of holiday cards we received.

On behalf of all of Robot 6, have a great holiday and stay safe. We’ll see you next week.

(Above: a Christmas showdown by Matthew Petz)

*****

Stories | Cullen Bunn offers a four-part Sixth Gun Christmas tale on his website.

Stories | J.M. DeMatteis shares a Christmas tale, “The Truth about Santa Claus.”

Webcomics | Mike Maihack presents one final Batgirl/Supergirl comic, this one with a holiday theme.

Webcomics | Jon Adams has a Santa comic only he could offer.

Webcomics | Mike Hawthorne’s Raising Crazy has several holiday-themed comics up right now.

Classics remixed | Medium Large offers some alternate takes on A Christmas Carol.

Classics remixed | John Martz and Graham Roumieu update various Christmas specials for the modern era.

Nightmare style | Dan Hipp pits Tintin against Jack Skellington.

Faux comics | Chris Sims and Kerry Callen give us a glimpse at a comic that never was–The Santa Squad.

Holiday art | Anthony Vukojevich redraws the Glory and Friends Christmas Special cover from back in the day.

Holiday art | Brendan Tobin corners Christmas Spider-Man.

Good cause | Ross Campbell shares a Shadoweyes drawing he did for a multi-artist snowball fight for Comic Creators For Freedom.

Podcasts | Timothy Callahan and Chad Nevett’s Splash Page returns for a special holiday episode.

Music | Fred has the yearly Venture Bros. holiday single available for download.

Holiday cards:

from DC Comics

from James Turner

from Dark Horse Comics

from Tyler James

from Archaia (outside)

from Archaia (inside)

from Ilias Kyriaszis

from Dean Haspiel

from Devastator

from Arcana

from Kevin Colden

from Broken Frontier

from Neil Kleid

You can find more cards out on the web, from Atomic Robo, the Perhapanauts team, Jeff Lemire and a whole bunch of Marvel-themed cards from Agent M.

Here’s a video holiday greeting from Akira the Don:

Have a great holiday!

1. What comic-related gift or gifts would you recommend giving this year, and why?
2. What gift (comic or otherwise) is at the top of your personal wish list, and why?

Ho-ho-hopefully you’ve gotten the chance to check out the previous three installments. If not, it isn’t too late:

Part 1: Jim McCann, Matt Kindt, Daryl Gregory, Jim “Zub” Zubkavich, Jamie S. Rich, Ryan Cody
Part 2: Jeff Parker, Tim Seeley, Ross Campbell, Kody Chamberlain, Ian Brill, Jamaica Dyer
Part 3: Mike Carey, Kelly Sue DeConnick, Kagan McLeod, Kevin Colden, Thom Zahler, Van Jensen

And here is today’s round-up …

Joey Weiser

1. For the kids (or kids-at-heart): Okie Dokie Donuts by Chris “Elio” Eliopoulos – One of my favorite books of the year. Each page is crammed to the brim with kinetic artwork and fun comics!

For the art lover: “Behold! The Dinosaurs!” print by Dustin Harbin – Absolutely gorgeous print featuring one of my favorite subjects: Dinosaurs!

For the comic strip enthusiast: Mickey Mouse by Floyd Gottfredson – Super engaging strips that are full of life and very funny. I’m very glad that Fantagraphics is publishing these.

For the manga reader: Cross Game by Mitsuru Adachi – A recent series that I’ve been infatuated with after having it recommended to me by several friends. A manga with a very welcoming atmosphere and tons of heart.

For the indie-minded: A few comics from Blank Slate Books: Dinopopolous by Nick Edwards and The Survivalist by Box Brown – Two great-looking books from a publisher that might be off some folks’ radars at the moment. I haven’t even read these yet, and I feel confident recommending them!

2. Well, my dad has a long-standing tradition of giving me a volume of the Complete Peanuts collections for birthdays and holidays, so I’ve got that covered. Let’s see…

I suppose there are a few Japanese imported books that would make the top of my list of things I’ve had my eye on, but haven’t had the chance/extra cash to buy for myself. These fall under the category of “Things That I’m Not Likely to Stumble Across In-Person and Say, ‘Oh yeah, I’ve been meaning to get that!’” Two that come to mind are One Piece Green, a “databook” which contains a treasure-trove of sketches and notes from Eiichiro Oda from the years leading up to and during his epic manga series One Piece. I’ve also been eyeing some Shigeru Mizuki (Gegege No Kitaro, Onward Towards Our Noble Death) yokai encyclopedias that pop up on eBay. Those look Beautiful with a capital B!

Joey Weiser is the creator of Cavemen in Space, Monster Isle, The Ride Home and Mermin. He also writes the Spongebob Squarepants comic.

Christos Gage

1. I never met a kid who didn’t love Owly. Great, sweet all-ages stories told all in pictures, so perfect for youngsters learning to read. I love it, too.

2. Original comic art is always at the top of my list. Several artists I work with have already given me wonderful gifts this year, so I’m all set!

Television and comic writer Christos Gage has written GI Joe: Cobra, Numb3rs, The Man With No Name, Area 10 and Deadshot, among others. His current projects include Avengers Academy and Angel & Faith.

Chris Roberson

1. I think the best gift anyone could give any comic fan is a nice big stack of comics they haven’t tried before. When I was 12, one of my uncles went last-minute Christmas shopping at the local grocery store, and just bought me a copy of every new title on the newsstand, about a dozen in all. I was already a comics fan, but had only tried a handful of those titles, and in the end I became an ardent follower of at least a couple of them. And even though it only cost my uncle about seven bucks (this was 1982, after all), I still remember that as being one of the best Christmas presents I ever got.

2. I get to work in comics for a living. What more could I possibly want?!

New York Times-bestselling writer Chris Roberson is best known for his Eisner-nominated series iZombie (co-created with artist Mike Allred), the Fables’ spinoff Cinderella mini-series, and his work on Superman, Star Trek/Legion of Super-Heroes and Elric: The Balance Lost, all of which are available for digital download. His latest project is the modern fantasy series Memorial, which debuts this month from IDW.

Caanan Grall

1. All my picks are good for kids and adults. Also, I’m not super up to date on the comic world, so a lot of my picks may be old.

Cul de Sac by Richard Thompson. This is the best comic strip around right now, by far. It’s so far ahead of the rest of us, I lost track of Mr. Thompson’s footprints long ago. It focuses on four-year-old Alice Otterloop and her family and friends, and is crammed with whimsy, and multiple one-liners per strip. There’s three collections out so far, and a Treasury edition.

BOOM!’s Don Rosa Donald Duck volumes (two so far!) I grew up reading and collecting the old Disney Gladstone comics, and the issues where Don Rosa’s stories popped up were easily the most read between me and my brother. We used to fight over who owned each one! And now, here they are–not spread out over tons of single issues where you have to go looking for them–but in concentrated volumes of storytelling gold.

(Ditto to Fantagraphics’s Floyd Gottfriedson Mickey Mouse and Carl Barks Donald Duck libraries.)

Stardrop by Mark Oakley. Okay, I may be a little biased here because I know Mark, but if you all knew him too, you would buy his book, he’s just that nice. However, even if I never met the guy, I would love Stardrop. It follows a refugee alien princess who runs away from home to Earth, where she constantly challenges the way we humans have organised our world with her naive, yet ridiculously insightful, outlook.

Reed Gunther by Shane and Chris Houghton. I’ve been getting these in the single issues, but I believe the first volume just came out with issues 1-5 in it. Gunther, about a bear-riding cowboy, captures all the spirit of classic comics like Tintin and the aforementioned Barks, and is destined to sit alongside them. It’s funny, action packed, and even poignant sometimes when Reed the outdated cowboy makes it to New York City.

Loves and Capes by Thom Zahler. I’ve only read the first two, but there are three volumes of this brilliant superhero series. I know The Big Two have a monopoly on super heroes, but this series from IDW–while it trades on a reader’s knowledge of the tropes laid out by those Big Two–consistently does the genre better. Mostly by staying light and funny, and portraying fantastic characters with realistic relationships. ‘Will They, Won’t They?’ is such a tired drama cliche, so it’s nice to see stories where ‘They Will’ is enough.

Salt Water Taffy by Matthew Loux from Oni. 4 volumes so far, with one to come! It’s kinda like Enid Blyton, the Hardy Boys and all those great old kids adventure series, but this time, they’re comics. With a twist of the supernatural.

Cursed Pirate Girl by Jeremy Bastian. I can’t imagine what it was like being a kid, back in the day when things like The Wizard of Oz, or Alice in Wonderland were brand new to the world, but Pirate Girl at least gives us some idea. This comic is, quite simply, a work of art.

The Stuff of Legend by Mike Raicht, Brian Smith and Charles Paul Wilson III. There’s two volumes of this out so far from Th3rd World Studios, and if ‘Toy Story meets Lord of the Rings‘ isn’t enough for you, I’m not sure what is.

And lastly, an item that’s not a comic… The Secret of Kells on DVD (or Blu Ray, if DVD isn’t sharp enough for you and you want already rich studios to have more of your money.) This actually came out a couple of years ago, but was released a little more widely when it was nominated for an Academy Award earlier this year. It’s an Irish animated movie set in, I guess, the 6 or 700s, about an apprentice illuminator and his curiosity with the forest, his friendship with a woodland sprite, and also about invading vikings that offers up some of that slightly horrific vision that kids might be scared of, but secretly totally love.

2. I don’t have any one thing on my personal wish list. Just more art supplies so I can keep making comics.

Caanan Grall does the Eisner-nominated Max Overacts at occasionalcomics.com and has been published by DC Comics under their once-awesome, so-underrated-it-died, Zuda imprint. While Celadore may not be on anyone’s wish list, the first Max volume will be out next year, so maybe then Santa will fill out an order form or two.

Kerry Callen

1. I like giving gift certificates from my local comic shop. If the person getting it already buys comics, they love it and might try something new. If they don’t already buy comics, they might get a book, shirt, or such, while the shop has a potential new customer. A couple of caveats though, I have to know the person well, and I wouldn’t give a gift certificate to a less-than-pleasant shop. If a gift certificate seems too “commercial” for you, buy a friend a Tokidoki Marvel Frenzies Blind Box Figure. They’re adorable!

2. I’m eyeing an iPad to be included on my Christmas wish list. I’m not really tempted to read new comics on it, but I have hundreds of out-of-print 1940′s comics (non-DC, non-Marvel) in digital form with no comfortable way to read them. Plus, an iPad would make me one of the cool kids!

Kerry Callen is the creator of the indy comic Halo and Sprocket, and currently creates popular comic book spoofs on kerrycallen.blogspot.com.

Faith Erin Hicks

I always try and give graphic novels as gifts to my family every year (last year I gave my mom How to Understand Israel in 60 Days or Less by Sarah Glidden, and there were a bunch of other graphic novels whose names escape me right now … all I know is that I dropped $100 on a stack of graphic novels at my local comic store), but sadly due to work and distance I won’t be seeing them this Christmas. Nevertheless, here is my doozy of a suggestion for the open-minded, possibly comic appreciating reader in your family: the Fullmetal Alchemist box set.

Fullmetal Alchemist is my favourite manga, hands down. A taunt, funny, deeply moving, character filled story of an epic clash between good and evil, moral right and wrong, and family relationships. It’s beautifully illustrated; the author, cow-avatared awesome lady Hiromu Arakawa has an innate grasp of how to draw an exciting fight scene, as well as character emotions, both over the top funny and subtly sad. I heart this manga so much. And now Viz has released a convenient box set containing all 27 volumes (plus a light novel), all nicely packaged in a pretty carrying case that I’m sure plays heavenly music when you open it. I own all the FMA volumes already, but I kind of want this box set, just because it looks so cool. I’d recommend this gift not only for the younger reader in your life (maybe someone looking for a series to read after Bone), but also for comic creators, as it’s a masterfully crafted comic, well worth studying.

The gift I want for myself this year is a pair of proper jogging shoes. I started jogging back in April, and am still using the $4 sneakers I bought from the Salvation Army, because I wasn’t sure if jogging was something I was going to stick with, and didn’t want to shell out money for shoes that would sit in my closet. But now I’ve made running a part of my routine, so it’s time for some proper shoes. I hate exercise. I like that my career (comic drawing art monkey) lets me sit on my ass all day. But as I’ve started doing comics full time, and gotten older, well, it became a necessity to start some kind of exercise routine. I want to be in comics for the long haul; I want to be drawing them until I’m 90, and I know how bad sitting on my butt all day drawing away can be. I figure if I invest an hour a day on getting out of that chair and sweating a bit, I’ll be a much happier 90 year old, drawing comics in my hovering robot house in the clouds (in this future we all have jetpacks but that technology is slowly being replaced by teleportation).

Faith Erin Hicks is the creator of The War at Ellsmere, Zombies Calling, The Adventures of Superhero Girl and the upcoming Friends with Boys.

Dean Haspiel

1. I wish I had the time to give individual attention and say why I dug these comix but I don’t. Too busy meeting deadlines while developing the need for new ones and creating free content for me to express myself and for you to enjoy. I’m sure I accidentally left off a bunch of comix I loved this year but please trust that this list furnishes some of the very best comics published in 2011 that I actually found the time to read, admire, get energized by and enjoy.

Scalped by Jason Aaron and R.M. Guera [Vertigo]
Daredevil by Mark Waid, Marcos Martin, and Paolo Rivera [Marvel]
Godzilla: Gangsters and Goliaths by John Layman and Alberto Ponticelli [IDW]
Planet of the Apes by Daryl Gregory and Carlos Magno [Boom!]
Zegas #1 by Michel Fiffe [Copra Press]
The Mighty Thor [Omnibus] by Walter Simonson [Marvel]
MUSH! Sled Dogs with Issues by Glenn Eichler and Joe Infurnari [First Second]
Twisted Savage Dragon Funnies, curated/edited by Michel Fiffe, written & drawn by various [Image]
Strange Tales, Vol. 2, edited by Jody LeHeup, written & drawn by various [Marvel]
The Cardboard Valise, by Ben Katchor [Pantheon]
Richard Stark’s Parker: The Outfit by Darwyn Cooke [IDW]
Green River Killer by Jeff Jensen and Jonathan Case [Dark Horse]
Hera: The Goddess and Her Glory (Olympians) by George O’Connor [First Second]
The Wrong Place by Brecht Evans [D&Q]
Genius Isolated: The Life and Art of Alex Toth by Dean Mullaney & Bruce Canwell [IDW]
Mister Wonderful by Daniel Clowes [Pantheon Books]
The Someday Funnies, curated/edited by Michel Choquette, written & drawn by various [Abrams ComicArts]
Page by Paige by Laura Lee Gulledge [Amulet Books]
Night Business #4 by Benjamin Marra [Traditional Comics]
The Influencing Machine, Brooke Gladstone on the Media, illustrated by Josh Neufeld [Norton]
Animal Man by Jeff Lemire and Travel Foreman [DC]
All-Star Superman [paperback] by Grant Morrison & Frank Quitely [DC]
The Marvel Art of John Romita Jr. [Marvel]
Bored to Death, season 2 [HBO]

2. I’m nine pages away from finishing my current gig; drawing Godzilla Legends #5 for IDW. I have a bunch of pitches in editors and publishers hands and I hope to score new work for 2012. Wish me luck. Meanwhile, on Nov. 1, I helped launch TripCity.net, a new, Brooklyn-filtered literary arts salon, a place where I get to flex my multimedia muscles with a group of talented individuals. We just started, so, give us a chance and take a gander. Please give Trip City the gift of your time and attention. If you like it, please share it. It’s free and we hope you’ll pick up what we’re laying down. Be sure to swing by on Dec. 6 when I debut my new Billy Dogma comic, “The Last Romantic Antihero.” Thanks and Happy Holidays!

Dean Haspiel is the creator of Billy Dogma, artist on Cuba: My Revolution and Emmy winner for his work on HBO’s Bored To Death.

Baby with a Mohawk

Several Brooklyn, N.Y. creators launched Trip City, a new “literary arts salon” website, this week, featuring free content by the likes of Dean Haspiel, Seth Kushner, Joe Infurnari, Kevin Colden, Chris Miskiewicz, Jef UK and many more.

“TRIP CITY reinvents the online arts collective with a virtual playground for a diverse set of accomplished and highly individualistic creators,” said Trip City founder Dean Haspiel, “spanning every borough of artistic endeavor from the visual arts to literature, music, video and beyond.”

Comis wise, there’s already a bunch of stuff to check out, including Dean Haspiel’s Bring Me The Heart Of Billy Dogma, Chris Miskiewicz and Kate McElroy’s Adrift, Joe Infurnari’s Memoirs of the Kid Immortal, Nick Bertozzi’s Lad Zeppelin, Kevin Colden’s Baby With A Mohawk and more. In addition to comics, the site will also feature profiles, interviews and podcasts with everyone from Moby to Henry Rollins to Michael Moore, who is interviewed by Dan Goldman in the site’s first podcast.

The release Haspiel sent out says that the group has future plans to take some of the content and perform it live on the road. “Working with so many Brooklyn locals, we have this great sense of community right out of the gate,” said Jef UK. “Then, when we take the next step and turn Trip City into a live event—which is in the works—our tribe is already gathered, so to speak.”

The Last Mortician

Halloween seemed like the perfect time to run my email interview with writer Tim Hall regarding The Last Mortician, his first-time collaboration with his longtime friend, Dean Haspiel. The story, which explores death and love plus a great deal in between, launched earlier this month at Tor.com. Hall and Haspiel are storytellers that clearly relish challenging each other through their work. I appreciate Hall’s eagerness to discuss his craft, as well as Haspiel’s willingness to share some of the pencils for two panels. I really hope the creators’ Frankenstein reboot (mentioned in our interview) breaks out of the lab soon to terrorize the masses.

Tim O’Shea: As a novelist and screenwriter who also works periodically in comics (and who is seemingly always busy with multiple creative efforts), what attracted you to working with Dean on The Last Mortician?

Tim Hall: Dean and I have known each other for almost 15 years, and have supported each other’s work unconditionally and seen each other through some serious personal ups and downs. I have always had the greatest respect for Dean’s work and he is without question the best reader and biggest supporter of my writing. So why hadn’t we worked together before? First, we’re idiots, but also because we were each in our own worlds. Dean approached me seriously about working together nearly two years ago now, and we’ve since worked on a lot of stories and pitches; this is just the first that’s been published.

I know what you’re thinking, and yes–it really is just like “When Harry Met Sally.”

O’Shea: Were you intimidated at all when Dean explained (as noted in this Comic Archive mini-doc) he wanted the story to be political, religious and social commentary. Did you ever fear that Dean was too ambitious with his storytelling goal?

Hall: No, quite the opposite. There’s a strong moral perspective in everything I write, and I’m very interested in what’s happening in the world, politically and economically and in terms of media ecology. Dean knew that some big themes were inherent in the concept for The Last Mortician but he wasn’t explicit about it–he just has good instincts. He knew he needed a strong opinion and worldview for this and he came to the right guy.

O’Shea: How is the process of world-building different when building for comics as opposed to prose?

Hall: Prose answer: “In comics you have a few dozen or maybe a couple hundred words to build a world; in prose you can go on indefinitely. Comics really test a writer’s ability to self-edit, which is incredibly difficult but also the kind of challenge I thrive on.”

Pencils from The Last Mortician (Page 9)

Comics answer: “Economy.”

O’Shea: How soon in developing the story did you realize there could be a message of romance/love in the midst of death?

Hall: Romance is the other major thread of all my writing; my first novel, Half Empty, was intended as a “romance novel for men”–which means lots of sex, of course. I view most things through the lens of how love or the lack of it shapes us as individuals and as a society.

O’Shea: Suicide in the face of immortality is an interesting concept to explore. But my question takes the topic on a left turn: Has suicide ever touched your life on some level?

Hall: Thankfully, no. I’ve lost plenty of people in my life to alcohol, drugs, and bitterness, which is why I don’t indulge in any of those any more. But no suicides, thank God.

O’Shea: What was the most challenging aspect in the development of this story?

Hall: I’m not sure. Except for the hair pulling, sobbing, head banging, sleeplessness, panic attacks, flop sweats, upsetting my wife and scaring my kid, it was easy.

O’Shea: Out of the 16 pages, do you have a favorite scene or bit of dialogue?

Hall: My favorite is probably page 12, that beautiful split panel effect with the insets. By that point I think the heaviness and inevitability of the characters’ choices are so overwhelming. It also has almost no words, which is very gratifying to me as a writer–the ultimate act of showing and not telling. Dean did a brilliant job on the entire story but that page still gives me a lump in my throat.

O’Shea: In terms of marketing a project, do you think there’s an advantage to being able to say one of the creators is an Emmy-award winner?

Hall: I don’t think of it in terms of advantage, it’s simply a fact. Dean worked his ass off for that award and it’s a part of his c.v. now; why not mention it? If people are impressed, then good–they should be.

Pencils from The Last Mortician (Page 11)

O’Shea: While this is your first [published] collaboration, are you interested in collaborating together again?

Hall: Dean is a dream collaborator for me. He knows and understands comics so incredibly well and is also very literary himself. He also respects the deep experience and craft that I bring to the table and lets me do my thing.

Dean and I have some other projects that we are shopping, including a reboot of the Frankenstein legend, so I certainly hope there will be more collaborations in the future.

O’Shea: What else is on the creative horizon?

Hall: I moved back to NYC this summer with my family, to capitalize on a number of creative projects. I just finished a really funny mystery novel and am finally getting serious about a sci-fi story cycle that I’ve been sketching out for years. It took me a long time to be good enough to tackle genre projects in my own voice and from my own perspective, and I think these have great commercial potential. I hope my agent agrees.

O’Shea: Anything we need to discuss that I neglected to ask you about?

Hall: Well, I really wish you had asked me my recipe for the perfect tuna casserole.

Artist Dean Haspiel already has an Emmy, so it’s no surprise that the television world has taken note of his talents. He shared on his blog that he was hired to do lead character design, lead props and two comic book covers for a 10-part motion comics web series called “Of Monsters and Men” for SyFy’s Warehouse 13. The series can be viewed on the SyFy website for free, and will be added to the season 3 DVD set.

Head over to his blog to view pitch and concept art for the series.

Spider-Man: Turn Off the Dark

Broadway | Spider-Man: Turn Off the Dark, the retooled $75 million Broadway musical, took in $1.7 million for the week ending this past Sunday, which is above the $1.2 million the producers have indicated they need to reach to stay viable. The amount made it the No. 3 musical for the week, after Wicked and The Lion King. [Associated Press]

Legal | Robert Corn-Revere, the Comic Book Legal Defense Fund’s general counsel, discusses the U.S. Supreme Court’s decision in Brown v. EMA, which sought to ban the sale of violent video games to minors. He notes that the court drew upon the history of comic book censorship in reaching its conclusion to reject the ban: “Citing the amicus brief filed by the Comic Book Legal Defense Fund, it noted the crusade against comics led by Dr. Frederic Wertham and observed that it was inconsistent with our constitutional traditions. The Court traced the history of censorship that targeted various media directed toward the young and held that restricting depictions of violence could not be justified under established principles of First Amendment law.” [CBLDF]

CBLDF advertising

Legal | Toronto comics retailer Chris Butcher comments on the CBLDF’s efforts to help a U.S. man facing criminal charges in Canada for possession and importation of child pornography because of comics that were found on his computer: “If you are a fan of any manga or anime, if you are a fan of comics, if you have even one comics page, anime clip, or ‘dirty’ picture on your computer, tablet, or phone, this is about you. This is about you being pulled aside, searched, your electronics confiscated to be sent away for weeks and months, all because you’ve got scans of Naruto on your desktop. This isn’t about ‘child porn’ or any variation thereof, this is about legally equating a description of a thing–written or drawn–with the real thing.” In related news, the Bonfire Agency has created ads for the CBLDF focused on this issue. [Comics212]

Webcomics | Greg Rucka and Rich Burchett have set up a site for their webcomic Lady Sabre and the Pirates of the Ineffable Aether, which was announced in April. The strip begins July 11 [Lady Sabre and the Pirates of the Ineffable Aether]

Creators | Public Radio International recently interviewed Shigeru Mizuki, creator of Onward Towards Our Noble Deaths, the story of a doomed battalion in World War II that was recently published here by Drawn + Quarterly. [PRI's The World, via The Manga Critic]

Hark! A Vagrant

Criticism | Kristy Valenti analyzes Kate Beaton’s “voice” in Hark! A Vagrant. [comiXology]

History | Douglas Wolk traces how comics moved from being primarily aimed at kids to a more adult-oriented medium [Huffington Post]

Manga | Johanna Draper Carlson chronicles the history of josei manga (manga written for adult women) in the U.S. Sadly, it is mainly a story of good starts and poor follow-through. [Comics Worth Reading]

Comics | Robot 6 contributor Matt Seneca discusses the hardcover collection of Thor Godstorm, modern superhero comics and the art of Steve Rude. [Death to the Universe]

Reviews | Comic writer and soda blogger Neil Kleid yields to the taste of Dunkin’ Donut’s Captain America Cherry Coolata: “’Terrible’ would be spinning it politely. ‘Undrinkable’ hit the target more accurately, for after the fourth attempt and a rush of pounding drums to my cranium married with tense, shaking utensils I once called ‘fingers’ forced the expulsion of the remainder of the cup into the nearest trash receptacle.” [SodaBlog]

Business | Dean Haspiel and Seth Kushner join fellow Brooklyn entrepreneurs in a discussion of the secrets to success for small businesses. [Inc.]

Digital | Aspen Comics, which recently inked digital distribution deals with comiXology and iVerse, completes the triumvirate by signing with Graphic.ly as well. [CBR]

The soon-to-be-launched cartooning school Sequential Artists Workshop has announced a special night of readings and theatre by a host of comic artists this weekend in New York City.

Scheduled for this Sunday at 7 p.m., SAW’s Easter Fundraiser at the KGB Bar will have cartoonists such as Dean Haspiel, Sam Henderson, John Keerschbaum and others reading from their works for the live audience. The festivities will be hosted by SAW co-founder Tom Hart.

If you haven’t heard of Sequential Artists Workshop, it’s a new school for cartooning scheduled to open this year in Gainesville, Fla. The proceeds from SAW’s Easter Fundraiser  will go toward filing fees, space rental and marketing. They’re also looking for the donation of books, art supplies and virtually anything else you think a cartooning school would need. More more information, visit SAW’s website.

Stumptown

Hello and welcome to What Are You Reading? This week’s guest is Alex Segura, executive director of publicity and marketing at Archie Comics. But we’ll always know him as the guy who founded The Great Curve, the blog that would one day morph into Robot 6.

To see what Alex and the Robot 6 crew have been reading lately, click below …

*****

Tim O’Shea

So this week, I snagged a few books from the library, one of which was Fantagraphics 2006 volume one edition of E.C. Segar’s Popeye. It was still in the car when my son first started reading it and brought it into the house for himself to read. And thus inspired by a shot I saw of Chris Mautner (obscured by his copy of Kramer’s Ergot 7), I photographed my son reading Popeye. He’s enjoying the read, but when pressed to give a critical analysis of what appeals to him, the 11-year-old confided: “I don’t know, I just like to read it.”

Now on to the rest of this week’s pile, as read by me.

Cyclops #1 (one shot): Dean Haspiel plays with Cyclops and Batroc the Leaper, among a cast of many others. For me, all it took was Dean’s art. Jose Villarrubia on colors was just gravy.

Wonder Woman #609: Phil Hester continues to improve upon JMS’ initial plot pitch.I hope he gets a chance to tell his own Wonder Woman tales without a JMS structure before he leaves the book. It is interesting and effective how the book’s editors have used the reinstated letter’s column to help defend the JMS plot. Savvy use of the forum by the editor Brian Cunningham and assistant editor Darren Shan.

Detective Comics #875: I’m a longtime fan of Jim Gordon, so while Scott Snyder’s writing got seemingly bogged down at points, the exquisite art from Francesco Francavilla makes this issue a must read. Francavilla gives J.H. Williams III a run for his money in terms of trippy layout.

Captain America #616: So much talent in this giant-sized 70th anniversary issue. I’m not sure what I love more: the Mike Benson and Paul Grist 1940s vampire tale or Cullen Bunn and Jason Latour tale about the complicated aftermath of a tornado in Oklahoma. Let’s call it a tie. Honorable mention to Howard Chaykin (an artist I love) who drew an entire story involving at least two women with not one erect nipple in the whole tale.

Zatanna #11: I love Jamal Igle’s art and I want to see him have a nice long run on Zatanna. But just as Paul Dini had just won me back over to reading the book with Cliff Chiang’s arc, he’s driving me away again. For one thing, was the actual last panel of this issue’s story an inexplicable black panel? And there is a character in this issue protected by magic (not Zatanna’s) that serves as a major plot point, which is never explained. In fact, Dini has Zatanna acknowledge the plot point and then say: “I don’t have time to explain this.” Really? Where was DC editorial on that one–it cries for a revision.

Brigid Alverson

Cowboys and Aliens

What with all the talk about the Cowboys and Aliens movie, I thought it would be interesting to check out the graphic novel. My expectations were pretty low, given the unfortunate publicity stunt that launched this comic a few years ago, so I was pleasantly surprised. It’s a basic action comic with a bit of a plot twist, which is spelled out in the prologue so you can’t possibly miss it: Manifest Destiny is a lot like an alien invasion from outer space; in both cases, the invaders have superior weapons, don’t speak the language, and regard the indigenous people as disposable. The metaphor is carried through with ringing clarity as this particular bunch of aliens chooses to invade a wagon train of settlers who have been duped into buying land that belongs to the Indians. Then it all gets tossed out the window as the Indians and settlers gang up on the aliens, steal their weapons, co-opt their technology, and kick them out of Dodge. It’s good old-fashioned fun, with a fairly predictable cast but some clever moments. I know people think the movie should be a comedy, but it actually works pretty well as a straight-faced western.

On the same theme, and frankly, more to my tastes, is Graphic Classics’ latest volume, Western Classics. As always, the Graphic Classics folks do a great job of pairing artists and writers to really bring out the essence of a story. The book opens with an adaptation of Zane Gray’s “Riders of the Purple Sage,” a straight-up horse opera and a good one, and also includes the vaguely supernatural “The Right Eye of the Commander,” by Bret Harte, and an over-the-top Robert E. Howard tale of the big, dumb guy who sets everything right, “Knife River Prodigal.” There’s a nice blend of styles and stories, and not a clunker in the bunch.

Alex Segura

The Faceless Killers

Henning Mankell’s Kurt Wallander novels: If you read my interview with Tim O’Shea on this here blog, you probably know I’m a big mystery and crime fiction fan. One of the best things about reading crime novels is that you can get in on the ground floor of a good series and you know you’ll have a ton of great books to plow through. I loved Mankell’s standalone The Man from Beijing, which I read last year, but was hesitant to dive into the Wallander books until a few months ago. Now, I can’t stop. Set in Sweden, they spotlight the grizzled Ystad cop Kurt Wallander, as he battles his own doubts, insecurities and general malaise while tracking down some of the deadliest thieves and murderers his country’s ever seen. Well paced, intricate and full of surprises, the books are a handy guide to what a great mystery should be. Start with The Faceless Killers and you’ll be hooked.

Stumptown HC (Oni Press): See above. Add a dash of Greg Rucka’s writing and Matthew Southworth’s moody pencils and you’ve got a certified crime comic classic. Dex Parios isn’t your typical P.I. — she’s got a drinking problem, gambles too much and isn’t scared to dive into things feet first. And that’s what makes her a compelling read. Rucka knows how to tease readers and cagily build up the tension. Plus, the whole series is out now in one handy HC. What more do you need?

Detective Comics (DC Comics): If you kept up with my antics at my old gig, you know I’m a Batman fan. That hasn’t changed. And when I want a instant classic Batman story, I know which book to pick up at my LCS: Detective Comics. The all-star team of writer Scott Snyder, artists Jock and Francesco Francavilla have pieced together a story that feels grounded, gritty, dirty and epic all at the same time. From mysterious figures from the past lurching into the present to a host of new villains, this book’s got it all. Don’t wait for the trade on this one.

Life with Archie Magazine (Archie): One of my earliest fan geek memories involved me staying up past my bedtime with my sister to watch the live-action TV movie To Riverdale and Back Again, which featured older, adult versions of the Archies reconvening in Riverdale for their high school reunion. Now, let’s be frank — that movie wasn’t very good. But the concept is sound — what would life be like for the ol’ redhead and his friends once high school was over? Well, with Life with Archie, you have the answer, in two great storylines — one telling the tale of Archie after he marries Betty and the other featuring Archie’s married life to Veronica. Full of cameos, real life drama and great characterization from writer Paul Kupperberg (along with some of the best work of artist Norm Breyfogle’s career!), the stories are a treat for fans of Archie new and old.

line art for the Strange Tales II #1 cover by Rafael Grampa

Over at ComicsAlliance, Laura Hudson has a real treat for those of you who like your superhero comics with an alternative twist: 50-plus pages of sketches, thumbnails, pencils, inks, color studies and more from the Strange Tales II hardcover, which debuted this week. Click on over and get a glimpse at the creative process behind contributions from Kate Beaton, Jeffrey Brown, Ivan Brunetti, Farel Dalrymple, Rafael Grampa, Dean Haspiel, Jaime Hernandez, Paul Hornschemeier, Benjamin Marra, Edu Medeiros, Harvey Pekar, Frank Santoro, and Paul Vella. That’s hella Strange!

Creator-Owned Spotlight

Editor’s Note: With the recent discussions going on around the comics community about creator-owned comics, we’re pleased to welcome one of the voices in those discussions, 30 Days of Night and Mystery Society creator Steve Niles, to Robot 6 for a series of columns on creator-owned comics.

by Steve Niles

Second column and I’m already late! Here’s a creator tip I can’t seem to get through my thick skull: Don’t bite off more than you can chew. That said, here I am again and happy to be here talking about my favorite creator-owned books and creators.

This week I’m going to talk about a creator who dominates the modern creator-owned scene with both his work and his relentless support of other creators.

WARREN ELLIS

I wanted to talk about Ellis for many reasons: his talent, his persistence and his vision. Warren Ellis approaches his work with the strategy of a learned zombie killer. Don’t run into the stinky crowd swinging and shooting like a crazy person, find a place to settle in and let them come to you.

Warren Ellis has not only created worlds within his work, but also a world for himself online where you can follow his daily work routine, check out what he’s reading/watching himself, or meet and discuss his and other people’s work on the various forums he’s overseen. He has created a perfect fort for all of us Ellis zombies to swarm.

Desolation Jones

Doing my research for this column, I discovered that Warren has more books out than Hilton has bed-bugs (Yeah, the Hotel too.) He is the award-winning creator of such popular titles as Transmetropolitan, RED, Supergod, No Hero, Desolation Jones, Planetary, Ministry of Space and many others.

I’ll go out on a limb here and say that Warren Ellis is one of the few creators in comics whom I would call a Science Fiction writer. Oddly, that’s one of the areas you’d think there would be more people working in funny books, but that’s neither here nor there, because Ellis does it and does it well. It is odd though how little good sci-fi there is in comics.

Ellis has worked in just about every medium; not just comics. He is also a novelist and last year we saw a big-screen adaptation of RED, a series Ellis did with the lovely and talented Cully Hamner.

I could go on and on and try to sound really smart, but all I really need to say here is grab an Ellis book, any book, and give it a try. If you have any questions, just stop by warrenellis.com and soon you will be well-informed. Warren has made it very easy for fans to find his books.

Before I close on Warren Ellis though, I really want to underline something I mentioned earlier. Warren has a persona, no doubt. A pretty smart and wickedly funny persona, but he might be one of the most supportive creators in comics as well, and I love him for that. He spends massive amounts of his time and energy helping comics and comics creators. He opens up his websites for people to discuss and plug their work. And if Warren reads or watches something he likes, he shares it. In this market that is huge. Warren has always supported others.

I hope other creators follow in his footsteps both creatively and as an advocate of all things nerdy.

DAVE JOHNSON

by Dave Johnson

What? Are you crazy? That boy drawls Batman! How’s he fit into creator-owned?

Yeah, well along with doing some astounding cover work for both Marvel and DC, Dave Johnson has established the DRINK & DRAW SOCIAL CLUB. What started as a way to get his married friends out for a night has turned into a weekly activity across the world for all sorts of creators. The idea is so simple: get a bunch of artists to leave their basements and all hang out and just draw.

It seems so basic, but I think Johnson deserves a shot at the Nobel Peace Prize. My own idea DRAWING ON THE BACKS OF PEOPLE’S HEADS AT AA MEETINGS, didn’t really catch on. Dave and his gang deserve huge props for motivating a generation of young artists, giving them an outlet and a chance to hone their craft while working with other artists and getting shit-faced.

Hey, if it works, it works. Check out all things Dave Johnson here: http://devilpig.deviantart.com/ and Drink and Draw here: http://drinkanddraw.com/.

Let’s see, what books am I talking about…? I told you it was a bad idea to write a column. I have the attention-span of a gnat on meth.

SKULLKICKERS!

Woot! There are many reasons I love this title but one thing I love most is the publisher, Image, getting the book out on a regular basis. This may not sound big, but late books are a problem. The publishers of Skullkickers have planned and worked it out.

One of the things they’ve done is go out and hire some of the best, up-and-coming indy artists in the biz to do filler stories to keep the book on schedule. The “fillers” though are anything but. They’re all good, solid, fun, twisted, little short stories about dude, well, kicking some skulls. Check out an issue today (I think #6 hit the stands) or pre-order the first collection.

And last, but hardly least is another creator who has reached outside the comic bubble with his unique style of storytelling.

DEAN HASPIEL

There are not a lot of Emmy-winning comic creators out there, but Dean has managed to receive the prestigious award for his drawings for the opening sequence of HBO’s Bored to Death. He has also created books for DC and Marvel as well as Image, Dark Horse, Scholastic and even the New York Times and helped pioneer webcomics with the introduction of ACT-I-VATE.COM.

Please check out Dean’s Eisner-nominated series Billy Dogma. He’s a remarkable talent. Grab anything he’s done to see for yourself, and I’m sure you’ll be hooked.

I have to keep this week short because I also have some creator-owned books to do, but coming up I’m going to talk about more creators and books like Jill Thompson and I Kill Monsters. I’ll also start pouring through the mail I’ve been receiving and plugging harder-to-find creator-owned books.

Thanks for reading!

Over at his blog, Dean Haspiel shows off the thumbnails he drew for a 10-page Perry White story, “Old Men Drinking in Bars,” that’s included in Superman 80-Page Giant 2011. It’s fun to see how Dean plots out a story with his blocky, almost geometric figures and shifting points of view. Writer Neil Kleid explains a bit about the comic at his LJ, and he also discusses why we need more Perry White stories. Joe Infurnari was the colorist for this story, which makes for a pretty solid team.

Everywhere

The webcomics collective ACT-I-VATE celebrates its fifth birthday today — congrats, guys! — by launching a new “tongue-in-cheek” horror comics anthology called Everywhere. The strip, created and written by Chris Miskiewicz, will feature artwork by Dennis Calero, Rodney Ramos, Bobby Timony, Nathan Schreiber, Seth Kushner and many more. The first strip, “Horses Everywhere,” is up now and features artwork by Andrew Wendel.

“Five years ago, eight independent cartoonists allied and presented personal signature works, online for free, and ACT-I-VATE was born,” said Dean Haspiel, creator of Billy Dogma and co-founder of ACT-I-VATE, in a press release. “Five years later, ACT-I-VATE expanded its roster, created a PRIMER graphic novel, and helped confirm publishing options between print and web. A bold example of how a curated destination point for new stories and ideas can sustain, ACT-I-VATE continues to break ground as the industry transitions to the Digital Age.”

Adrienne Roy

Passings | Prolific colorist Adrienne Roy, who was a fixture of DC Comics for more than two decades, passed away on Dec. 14 following a year-long battle with cancer. She was 57. Although Roy’s work appeared in countless DC titles, from Green Lantern and Superman to Warlord and Wonder Woman, she’s best known for her extensive runs on Batman, Detective Comics and The New Teen Titans. Mark Evanier notes that “Her long tenure on Batman (more than 600 issues of various comics featuring the character) meant that her credit appeared on more tales of the Caped Crusader than anyone else except for Bob Kane.” CBGExtra posts an obituary written by her husband Anthony Tollin. [News from ME]

Publishing | Rich Johnston reports on rumored contract changes at DC Comics that would affect all new creator-owned titles in the DC Universe and Vertigo imprints. [Bleeding Cool]

Publishing | Storm Lion, the Singapore-based multimedia studio behind the 2008 Radical Publishing miniseries Freedom Formula, has closed on the heels the summer layoff of 30 employees in Singapore and Los Angeles. The closing leaves a planned movie adaptation, to be produced by Bryan Singer, “in limbo.” [The Straits Times]

Josh Blaylock

Publishing | Josh Blaylock, founder of Devil’s Due Publishing, frets that sudden cover-price cuts by DC and Marvel will lead to a “direct market massacre” in February: “Even in the best of times the holiday spending craze is over, everyone has spent their post-X-mas, January gift money, and the lull begins, and this will likely be one of the flattest X-Mas seasons in memory. This year, as our currency buys less and less essentials (I’m talking food and clothing, not your essential weekly publications), February is already poised to be tougher than ever, but it’s also running parallel with the forced 25% drop in sales from the majority of DC and Marvel titles. It’s an open wound plus salt.” [JoshBlaylock.com, via The Beat]

Retailing | Frances Dinkelspiel follows up on last week’s report about the imminent closing of legendary Berkeley, Calif., store Comic Relief. The article mentions that two employees have been laid off, but that the family of founder Rory Root is apparently talking to a potential buyer. Rich Johnston and Heidi MacDonald have commentary. [Berkeleyside]

Retailing | Drew Sullivan, owner of Ash Avenue Comics and Books in Tempe, Ariz., said his store had an exceptional November, thanks in large part to brisk sales of The Walking Dead, triggered by the popularity of the AMC television adaptation: “That comic book is one of our biggest sellers right now. We can’t keep it stocked. [...] It’s basically introducing new customers to the world of comics.” [East Valley Tribune]

Publishing | Robot 6 contributor Brigid Alverson considers the pitfalls of comics age ratings. [Graphic Novel Reporter]

Sleeper: Season One

Publishing | Tom Spurgeon pens a eulogy for WildStorm, complete with a list of favorite titles. [The Comics Reporter]

Conventions | Jayson Peters previews Amazing Arizona Comic Convention, which will hold is debut event Jan. 8-9 at the Mesa Convention Center in Mesa, Ariz. Guests will include Robert Kirkman, Rob Liefeld, Jeph Loeb, Joe Benitez, John Layman, Ryan Ottley, Cory Walker, and cast members from The Walking Dead. [East Valley Tribune]

Creators | Dean Haspiel posts his comic-strip tribute to Harvey Pekar that appears in the year-end issue of Entertainment Weekly. [LiveJournal]

Creators | Amy Mebberson talks about kids’ comics and BOOM! Studios’ Muppet Show titles. [TFAW.com]

Best of the year | David Allen Jones compiles his favorite comics of 2010, including Scalped, The Sixth Gun and Empowered. [Popdose]

Best of the year | Larry Cruz looks at the “Webcomic Moments of 2010.” [The Webcomic Overlook]

American Vampire Vol. 1

When DC announced it was shuttering the Wildstorm and Zuda imprints back in September, after having announced the shutterings of the CMX line less than six months ago (and only two years since they canceled the failed Minx experiment), all eyes started moving uneasily towards Vertigo, the first and final imprint DC had left. It didn’t help that DC had also announced they were going to be absorbing certain Vertigo characters like Swamp Thing back into the superhero fold. Add to that the recent cancellation of such series as Air, Unknown Soldier and Greek Street, and many ended up wondering not just if Vertigo was being sized up for the chopping block but when the ax would fall (I’ve got $20 in the office pool down for May 2011).

Mark Oliver Frisch aside, we don’t have access to DC’s actual, total sales numbers, however, so it’s nigh-impossible to tell exactly how well Vertigo books are selling and how essential the line is to DC as a publishing and licensing entity. Perhaps the only  way we can make any assumptions at all about the health of the line is to look at the comics that Vertigo has published in the past few months. Which is exactly what I plan on doing after the jump.

American Vampire Vol. 1
By Scott Snyder, Stephen King and Rafael Albuquerque
Vertigo, 192 pages, $24.99

If Vertigo is known for anything, it’s as a publisher of fantasy/horror comics. There’s some wiggle room there, of course, which I’ll get to in a moment, but many longtime comics readers still associate the imprint with titles like Sandman, Preacher and Hellblazer (still going strong after all these years).

So it’s not too surprising then that Vertigo would release something like American Vampire. Not only does the book offer a clever hook and supernatural twist that their books always seem to thrive on (in this case, American vampires are stronger and more rapacious than their European brethren and can handle sunlight), but it’s got the added bonus of being co-written by a noted prose author. And not just any author mind you, but “master of horror” Stephen King himself! If ever the phrase “tailor made” seemed appropriate, it would be with the joining of this particular comic with this publisher.

Volume One, which collects the first five issues of the series, lays some pretty solid groundwork. While far from being frightening or even slightly unnerving, American Vampire remains a solid page-turner in the best Vertigo tradition. The main thrill here is watching protagonist and newbie vamp Pearl take out Clint Eastwood-style the old school, European bloodsuckers that have wronged her. Writer Snyder uses this classic revenge motif to good effect, turning Pearl into a sympathetic protagonist (who still kicks ass) and playing up the old world/new world analogies enough so they’re front and center, but aren’t rubbed in your face ad nauseum either. In fact, the King-penned sections focusing on the origin of the first American vampire, Skinner Sweet, and set in the Old West, aren’t nearly as engrossing or entertaining. I don’t know if Vampire can maintain that level of interest once it moves away from Pearl’s thirst for revenge onto other characters and plot lines but certainly the potential is there for this to be one of the more solid Vertigo series of late.

The Green Woman
by Peter Straub, Michael Easton and John Bolton
160 pages, $24.99

The Green Woman

Of course, Vertigo has published just as many bad fantasy horror comics as it has good ones. Case in point is The Green Woman, a stand-alone graphic novel that is almost the mirror opposite of Vampire. It even has a well-known horror author attached to the project, in this case Peter Straub.

But where American Vampire plays it quick, clever and breezy, Green Woman is a dull, confusing slog. Moving back and forth in time, the book focuses on the cat and mouse games between a psychic cop and a uber-deadly serial killer. Lots of allusions to previous Straub books are dropped, which only serve to obfuscate unfamiliar readers all the more. Bolton’s stiff, overly photo-referenced art doesn’t help matters much either — he’s a consummate craftsman, but doesn’t seem to understand sequential storytelling much at all. Several sequences are difficult to follow because of Bolton’s choice of perspective or color and he does little to guide the reader in terms of setting and time. In many ways, Green Woman calls to mind not Vertigo’s past successes as much as previous failures — ponderous painted tomes like Shadows Fall and Faultlines. It doesn’t make one fearful for the imprint’s future as much as it does warily remind them of past missteps.

Revolver
by Matt Kindt
Vertigo, 192 pages, $24.99

Revolver

Lately Vertigo has been (wisely I think) attempting to extend its range by courting cartoonists from the indie and alt-comix side of town, most notably folks like Harvey Pekar and Jeff Lemire. Matt Kindt of Super Spy fame is the latest player to join the team, with his sci-fi-ish graphic novel Revolver. Again, the book rests on a clever (and — dare I say it — movie-ready) hook — a seemingly average man inexplicably finds himself moving between two parallel universes. In one he’s an average schlub with a dead-end job and materialistic girlfriend. In the other, he’s literally fighting for his survival in a post-apocalyptic landscape.

I have a bit of a problem with one of the central themes of the book, which seems to be “we spend a lot of our time focusing on useless things and not enough on the stuff that matters.” I don’t need to be thrust into a doomsday scenario to know that and it cheapens the horror of the alternate world by having it exist solely as a macguffin to allow the main character to re-assess his values. To his credit, Kindt seems to understand that and attempts to subtly address it, especially in the finale, which suggests that learning what’s important doesn’t always result in a cheery ending or lack of bloodshed. Despite his best efforts, however, the book ultimately feels a bit too pat, both in its themes and its characterizations. I think for many the central conceit and Kindt’s speedy, rough-hewn art will be enough of a draw, but I doubt the book will resonate for them beyond a rather superficial level.

A Sickness in the Family
by Denise Misa and Antonio Fusa
Vertigo, 192 pages, $19.99

A Sickness in the Family

Of course, Vertigo has been known to dabble in other genres beyond fantasy and horror. The success of 100 Bullets led the powers that be to start a line of crime/noir books, the rather obviously titled Vertigo Crime line (imprints within imprints!), A Sickness in the Family, being the latest example. I haven’t exactly fallen in love with the Vertigo Crime books up till now, as they’re so mired in genre that they seem unable to avoid even the hoariest cliches.

Sickness is rather enjoyable though. The book is basically Agatha Christie’s And Then There Were None set amidst a dysfunctional family. So yes, there are few surprises plot-wise, but I liked how the characters’ various rivalries and tics, as broadly telegraphed as they were, played off each other over the central plot, especially in the case of youngest son Sam and his issues over being adopted. There are a number of plot holes and I’m not sure I buy the final denouement, as poetically apt as it may be, but the bottom line is Sickness manages to succeed as the slyly dark little page-turner it sets out to be.

The most striking thing about the book, however, was the awful lettering job by Clem Robins. Robins uses an unnatural, stiff, computerized sans serif font that (much like the recent Twilight adaptation) constantly called attention to itself and divorced me from the reading experience. Even if this wasn’t their intention, what this sloppy decision said to me was “Vertigo doesn’t care enough about this line to bother with getting decent lettering for their books.” (I should note here that Robins does an excellent lettering job on many other Vertigo books, including the one listed at the bottom of this post, which, I think makes his choices here seem all the more peculiar and jarring.) As a result, even if Vertigo doesn’t fall, I don’t have high hopes for Vertigo Crime to make it to 2012.

Dark Rain
by Mat Johnson and Simon Gane
Vertigo, 160 pages, $24.99.

Dark Rain

Although not a part of Vertigo’s crime line, Dark Rain also fits neatly into the genre, in this case the traditional heist format. It’s about an odd-couple pair of ex-cons who try to rob a New Orleans bank during the Katrina floods only before a bunch of Blackwater-style mercenaries get there first. When I first heard of the book’s plot, I groaned inwardly. Wasn’t Katrina a horrific and dramatic enough story without the need to slap on such a tired plot device?

But Dark Rain proves to be a gripping and solid bit of entertainment. Johnson (whose previous work includes Incognegro, a book I didn’t much care for) manages to avoid coming off like he’s exploiting the tragedy for the sake of a quick read, mainly by filling his cast with relatable, diverse characters and harkening back to the seriousness of the real event without feeling like a cheap TV movie of the week. He also finds a near perfect collaborator in Gane, whose rubbery line allows for just enough exaggeration to imbue his characters with life but is realistic enough to make the reader feel like the story is, in fact, taking place in New Orleans and not Anytown, U.S.A. There are a million ways Dark Rain could have gone horribly wrong, and while it’s far from perfect (the central villain is about as unsubtle as you can get) it manages to avoid enough pitfalls to be worthy of recommendation.

Cuba, My Revolution
by Inverna Lockpez and Dean Haspiel
Vertigo, 144 pages, $24.99

Cuba: My Revolution

But never mind crime, horror and fantasy! We know what kinds of comics really sell and get all the praise, at least among the comics cognoscenti — memoirs! Just about every publisher that’s not Marvel seems to have its eye on nabbing the next Persepolis or Fun Home these days. Hence, Cuba: My Revolution, Lockpez’s story of how as a young Cuban woman she initially welcomed Fidel’s new Marxist government, only to slowly awaken to the censorship, torture and injustice the new regime brings.

There’s no question that Lockpez’s story is harrowing. She suffers through a vast array of ugly, brutal experiences that would fell lesser folk on her quest for freedom. But the story falters under the weight of its ambitions. The supporting characters frequently talk in clumsy swaths of exposition and, except for the protagonist, never coalesce as characters. Haspiel does what he can, and his angular, dynamic art style serves the story well, particularly in a sequence where Lockpez is locked up and tortured. But the book feels cluttered, like it’s in too much of a hurry to move to the next plot point, and there’s never any room to rest on a particular moment or sequence. As a result, I felt a constant remove from Lockpez and her tale — I was constantly aware that I was being told a story and rarely felt like I was immersed in one, if you can see the difference. Lockpez’s story is important and worth telling, but it deserves a better rendition than what’s provided here.

How to Understand Israel in 60 Days or Less
by Sarah Glidden
Vertigo, 208 pages, $24.95.

How to Understand Israel in 60 Days or Less

As almost a direct counterpoint to Cuba, Vertigo just released How to Understand Israel in 60 Days or Less, an involving, informative and surprisingly moving tale of the author’s travels in the country during a “Birthright” tour.

Sympathetic to the Palestinian cause, Glidden portrays herself as an eternal skeptic (to put it mildly), constantly questioning what she’s being told and seen by her various tour guides and desperately trying to sift through the hype and propaganda to find some sort of truth about the country and its place in the world. What she discovers, of course, is that her pre-conceived notions are challenged time and again, and that the issues and people are much more complicated than first glance would suggest.

Strictly adhering to a nine-panel grid, and continually framing her subjects at a mid-level, Glidden provides a variety of viewpoints and voices without anyone coming off as a cardboard spokesperson for a particular point of view. Her graceful watercolor art seems overly minimal at first but manages to convey a wealth of detail and experiences the further into the book you delve. While Glidden may portray herself as confused and searching, Understand a smart, assured book that refuses to shy away from tough questions or simplistic viewpoints. It’s one of the best things Vertigo has published in years.

—-

So what have we learned from this little tea-reading exercise? What do these books suggest about Vertigo’s position in the market? Is there any sort of vision or editorial guidance that ties them all together? Because if you can see a connecting thread here you’re better at this industry analysis stuff than I am.

And I think that’s really the central problem. Looking over these titles, the best I can come up with is Vertigo is attempting a “see if it sticks to the wall” approach, which doesn’t inspire a ton of confidence in their viability as a publisher. Of course, they’ve always attempted to expand beyond their genre comfort zone – remember, they published Peter Kuper’s The System way back in the ‘90s – but regardless of quality, the above mish-mosh of genres, styles and stories doesn’t suggest any overarching editorial guidance or vision the way other publishers, be they Fantagraphics or Marvel, seem to have.

I suppose one uniting thread is the fact that, except for Vampire (and, I suppose, Israel, which Glidden originally published as a series of mini-comics), these are all designed as done-in-one graphic novels. That’s an understandable shift in format, as interest in pamphlet-style comic books that don’t involve the Big Two’s superheroes appears to be withering away, but there’s a double-edged sword here in that books serialized over time have a greater chance at generating conversation and interest. A book like Vampire, it seems to me, can build up buzz more consistently and slowly over time, and stand a better chance of generating new readers long after its initial release date, as Y The Last Man and Fables continue to do. A book like Dark Rain, on the other hand, could well be forgotten a month after it comes out.

That’s if they even get talked about at all. With all the different kinds of comics being published these days, both online and off, getting your book noticed above the din is tougher than ever, even for a company like DC. It doesn’t help that, except for Israel, few of these books rise into the truly inspired territory. The best of them enter a middlebrowish “good read” territory, which, while absolutely nothing to sniff at, isn’t necessarily enough to result in strong sales. There are an awful lot of “good reads” around these days, all clamoring for equal time.

As hard as it is to ascertain what sort of future Vertigo has in DC’s brave new world of comics publishing, I’m not feeling terribly encouraged by their current output to suggest they’re home free. Quality aside, the vast variety and style of these books suggest a bit of desperation, of searching about for a “sure, winning formula” more than it does a willingness to experiment. I hope I’m wrong. As down as I can get on it at times, I do think Vertigo has been a valuable imprint and can continue to be in the future. I’ll keep my fingers crossed.

DC Comics

Publishing | Following Friday’s news that as many as 80 employees will be relocated or fired in DC Entertainment’s restructuring, Rich Johnston claims that most of the staff reduction will come from the end of temporary contracts. “DC has made it a policy to replace outgoing support staff with temporary staff for just this eventuality,” he writes. “New positions will open in Burbank to cover what is now needed over there, but there will be no cross-country moving arrangements for temps to fill them.”

Sean Kleefeld, meanwhile, provides commentary on the cuts: “Those layoffs? Those are for actual employees. Those are going to be admins and accountants and file clerks and licensing specialists and whatnot. Probably an editor or three. People who come in to DC’s offices in New York City to do their job. But what about the comic creators who also suddenly have the rug pulled out from under them? With Wildstorm and Zuda going away, won’t that mean all those creators who were working on books under those imprints no longer have an outlet for their work?” [Bleeding Cool, Kleefeld on Comics]

Digital comics | Deb Aoki interviews comiXology CEO David Steinberger about distributing Tokyopop’s Hetalia: Axis Powers, and the possibility of more digital manga. [About.com]

X'ed Out, by Charles Burns

Graphic novels | The Graphic Novel Reporter has released its list of essential fall reading, divided into categories for kids, tweens, teens, nonfiction and adult fiction. [Graphic Novel Reporter]

Comic strips | The Bradenton, Florida, newspaper bids farewell to Cathy with an interview with cartoonist Cathy Guisewite’s parents, Sarasota residents William and Ann Guisewite. [Bradenton Herald]

Creators | Legendary cartoonist Al Jaffee talks about his new memoir, his childhood, his early work for Timely Comics, and how the current Mad compares to the magazine’s heyday: “The old version was easier for me to work in, because they did a lot of repeat articles like, ‘Don’t You Hate Christmas?’ and then you do a lot of funny stuff about Christmas. I could keep coming back to Snappy Answers every six months or so. But now they decided that they have to be more on top of the news. They are also employing a lot of young cartoonists, like Johnny Ryan and others, who are very popular in alternative comics. There are things in it that don’t appeal to me simply because I’m too old — references to new music groups, for example, that just go over my head. But I do read each issue cover to cover, and I think it is still a very good package.” [Mother Jones]

Dean Haspiel

Creators | Chuck O’Donnell profiles cartoonist Dean Haspiel, “the Godfather of Brooklyn’s comic scene.” “Dean can take credit for mentoring dozens of cartoonists and writers here in the Brooklyn area, and is easily the most outspoken voice on the comics being done from Williamsburg to Carroll Gardens or Gowanus,” says Christopher Irving, author of the upcoming book Graphic NYC Presents: Dean Haspiel — The Early Years. “But if you ever go to an event at Bergen Street [Comics] or to a local comic convention like King Con or the Museum of Comic and Cartoon’s annual fest, Dean is like the eye of a hurricane, and a lot of people count on him for his input. Dean doesn’t just put himself out there — he reaches out to others and makes things happen.” There’s also a sidebar with a selection of Haspiel’s quotes about Brooklyn, its comics scene and his work. [YourNabe.com]

Creators | Joe Vince compiles the first part of a two-part list highlighting the “New Crop of Female Comic Creators” — Kate Beaton, Julia Gfrörer, Jöelle Jones, Amy Reeder Hadley, Julia Wertz and G. Willow Wilson. [OC Weekly]

Craig Hamilton

Creators | Chris Horne profiles artist Craig Hamilton as part of a series focusing on Macon, Georgia, as “an unexpected hub of world-class comic book creators.” [Macon Telegraph]

Creators | Dustin Harbin discusses becoming a full-time cartoonist, lettering Casanova, and releasing Diary Comics No. 1. [Charlotte Observer]

Creators | American Vampire writer Scott Snyder chats about genre, his upcoming first novel, and his “tremendous year.” [Publishers Weekly]

Creators | Dale Lazarov briefly spotlights Multiplex creator Gordon McAlpin. [Bleeding Cool]

Comics | Chris Cummins recommends nine “under-the-radar indie comics,” from Incredible Change-Bots to The Muppet Show. [Topless Robot]

Batman and Robin #14

Welcome once again to our weekly round of “What would you buy if your budget was limited?” — or, as we call it, Food or Comics? Every week we set certain hypothetical spending limits on ourselves and go through the agony of trying to determine what comes home and what stays on the shelves. So join Brigid Alverson, Chris Mautner, Kevin Melrose and me as we run down what comics we’d buy if we only had $15 and $30 to spend, as well as what we’d get if we had some “mad” money to splurge with.

This week we’re coming to you a day late, as comics won’t arrive in shops in the United States until tomorrow due to this past Monday’s big holiday. And check out Diamond’s full release list if you’d like to play along in our comments section.

Chris Mautner

If I had $15 …

Batman and Robin #14 ($2.99)
Glamourpuss #15 ($3)
Starstruck #13 ($3.99)

My three main purchases for the week. The one of note is the final issue of Elaine May and Michael Kaluta’s Starstruck. I have no idea if IDW plans on collecting the series or not, or if there are other Starstruck mini-series in the works (I’m guessing not; my Spidey-sense tells me that the series wasn’t a solid seller for the company), but if this is the end (at least for now), I’m grateful to IDW for taking a chance and introducing me to what can only be described as an utterly dense and utterly unique comics-reading experience.

If I had $30:

Dean Haspiel‘s and Inverna Lockpez’s Cuba: My Revolution (Vertigo, $24.99), about Lockpez’s early life in Havana during the rise of Castro and the abuse she suffered under that regime, looks interesting, though not necessarily interesting enough for me to chuck all my other purchases for the week. On the other hand, I don’t have (believe it or not) the collected version of Chester Brown’s Louis Riel ($17.95) yet, and there’s a new printing available this week from Drawn & Quarterly. I loved Brown’s idiosyncratic take on Canadian folk hero/revolutionary Riel back when I read the individual, serialized issues and have been thinking about getting the collected version for my bookshelf for some time now. Hmmm, decisions, decisions …

Splurge:

Easy choice this week. From Shadow to Light: The Life and Art of Mort Meskin ($39.99) is a swell-looking history of a little-examined and little-known Golden Age artist who is only just now getting his due. Author Steve Brower and Fantagraphics provide the education.

Kevin Melrose

If I had $15 to spend, I’d grab …

B.P.R.D.: Hell on Earth — New World #2 ($3.50)

It’s the team of Mike Mignola, John Arcudi, Guy Davis and Dave Stewart which, honestly, is all I need to know to fork over my not-so-hard-earned money. (Dark Horse)

Weird War Tales #1 ($3.99)

The second in DC Comics’ series of classic war one-shots features stories by Darwyn Cooke, Ivan Brandon and Nic Klein, and Jan Strnad and Gabriel Hardman. Sold! (DC Comics)

Thor: The Mighty Avenger #4 ($2.99)

The latest issue in the stellar all-ages series by Roger Langridge and Chis Samnee finds the god of thunder and the Warriors Three stranded in Oxford, England, much to the displeasure of Captain Britain. (Marvel)

The Sixth Gun #4 ($3.99)

The breakout title of Free Comic Book Day, Cullen Bunn and Brian Hurtt’s supernatural Western rides hell-bent for leather as Drake Sinclair springs a trap for General Hume and his gang involving a temperamental Thunderbird spirit. (Oni Press)

Total: $14.47.

If I had $30, I’d also pick up …

Billy the Kid’s Old Timey Oddities and the Ghastly Fiend of London #1 ($3.99)

Eric Powell and Kyle Hotz follow up their 2005 miniseries with a four-issue tale that finds Billy the Kid and Fineas Sproule’s Biological Curiosities in London, where they become entangled in the Whitechapel murders. (Dark Horse)

American Vampire #6 ($3.99)

This marks the first issue without Stephen King, leaving Scott Snyder and Rafael Albuquerque to kick off a story starring Skinner Sweet and Pearl in 1930s Las Vegas. (Vertigo)

Batman and Robin #14 ($2.99)

The “Batman Must Die!” arc continues. (DC Comics)

Punisher MAX: Hot Rods of Death #1 ($4.99)

I’m not a fan of Frank Castle, but the partnership of Charlie Huston, Shawn Martinbrough and Lee Loughridge holds enough promise to justify shelling out five bucks. I think. (Marvel)

That brings the total to $30.43, which is close enough.

Splurge:

X-9: Secret Agent Corrigan, Vol. 1 ($49.99)

Part of IDW Publishing’s Library of American Comics imprint, this 296-page trade paperback collects Al Williamson and Archie Goodwin’s 1967-1980 run on the adventure strip created in 1934 by Dashiell Hammett and Alex Raymond. (IDW Publishing)

Brigid Alverson

Twin Spica

If I had $15, I’d keep it light for back-to-school with two books that are kid-friendly but offer some substance for older readers as well. First up is the third volume of Twin Spica ($10.95), so I can continue to follow Asumi’s struggle to make it through astronaut training while dealing with the emotional tugs of friends and family. It’s kidlit at its best, with a solid story that provides a framework for exploring different types of relationships. And I’m also planning on picking up the first issue of Scratch9, a dynamic, entertaining, and slyly funny story of a cat who, thanks to a mad scientist, gets to meet all his previous eight lives.

With $30, I’d add a handful of floppies. Billy the Kid’s Old Timey Oddities and the Ghastly Fiend of London #1 ($3.95) looks pretty entertaining, and I’ll add Kill Shakespeare #5 ($3.99) and The Sixth Gun #4 ($3.99), two solid series that I’m enjoying a great deal. That only leaves me three bucks, so I’ll throw in Scooby Doo Where Are You #1 ($2.99) to read with my nephew and nieces, who are big fans.

My splurge item this week is the two volumes of Alison Dare, Heart of the Maiden and Little Miss Adventures, reissued by Tundra. I’m a big J. Torres fan and I enjoyed these comics greatly in galleys; I just wish there were more of them. And then I’ll indulge my Archie jones with the second issue of the Life with Archie magazine, just to see what those crazy kids are up to.

JK Parkin

If I had $15 …

Billy the Kid’s Old Timey Oddities and the Ghastly Fiend of London #1 ($3.95)
American Vampire #6 ($3.99)
Sixth Gun #4 ($3.99)
Batman and Robin #14 ($2.99)

By the time I get around to writing up my picks for the week, there’s a good chance my colleagues will have already talked about my selections in their own sections. So I really don’t have anything to add about the titles I’ve listed above, beyond calling attention to the fact that Billy the Kid’s Old Timey Oddities also has a back-up story running in Dark Horse’s Buzzard mini-series that has been quite good.

If I had $30 …

Weird War Tales #1 ($3.99)
Justice League Generation Lost #9 ($2.99)
Thanos Imperative #4 ($3.99)
Irredeemable #17 ($3.99)

While I’m probably more curious than excited about DC’s series of war one-shots, it’s hard not to be enthused by an issue that features Darwyn Cooke, Ivan Brandon and Jan Strnad, among others. Justice League Generation Lost #9 continues the story of Booster Gold and co.’s attempt to find the resurrected Maxwell Lord. I’ve been downloading these on my iPad versus buying physical copies, and Keith Giffen and Judd Winick are doing wonderful stuff here. I plan to get the trades when they come out.

Add to that some big-time space opera by Abnett and Lanning, and some superhero-gone-mad madness from Mark Waid, and I think I’m looking pretty good for the week … and under budget.

Splurge:

I already own them, but I thought it was worth pointing out that Brendan McCarthy’s recent Spider-Man: Fever mini-series and a new printing of Berlin Book 1 both arrive in comic shops this week. My splurge item would be Cuba My Revolution. As Chris noted above, it’s about writer Inverna Lockpez’s early life in Havana during the rise of Castro. Although the story sounds compelling, it’s the art team that sold me on it, Dean Haspiel of ACT-I-VATE, Bored to Death and Street Code fame, and José Villarrubia — whose work you may remember from Dark Horse’s Conan titles and Promethea, among others.

Photographed by Seth Kushner

This has been a year of ups and downs for Dean Haspiel.

He’s riding high after last week’s win at the Creative Arts Emmy Awards. He, along with the crew of the HBO series Bored To Death, won for outstanding main title design, and Haspiel returned to his native New York City to continue the promotional blitz for his upcoming graphic novel Cuba: My Revolution with artist and family friend Inverna Lockpez. He just had a short feature published in Marvel’s Deadpool #1000 and has more work on the way for the House of Ideas. But this was also the year his friend and longtime collaborator Harvey Pekar passed away.

Throughout it all, Haspiel has become one of the strongest independent voices of comics (or “comix,” as he would say). His years of networking and socializing in the New York City comics scene came to fruition in 2006 with the inception of the ACT-I-VATE collective, resulting in several series making the jump from web to print in IDW Publishing’s ACT-I-VATE Primer. He continues to be a driving force in webcomics, with the third installment of his semi-autobiographical series Street Code just out from Zuda‘s newly transplanted home on Apple’s mobile-phone platform.

Today, he has a girlfriend, a studio full of friends dubbed DEEP6, a Sept. 15 signing at Midtown Comics, and new work appearing later this month in the second season of Bored To Death. On a recent morning, I talked to Dean by phone before he rode his bike to his nearby studio.

Chris Arrant: Let’s start with an easy one, Dean – What are you working on today?

Dean Haspiel: Today I’m going to the studio to work on the final page of Street Code. It’s a semi-auto-bio comic about the transition of moving between Manhattan and Brooklyn. While it takes place during a certain era in my life – around when I turned 30 to recent events – the latitude of semi-auto-bio allows me to crunch time and tell certain kinds of stories. The themes of Street Code are about my avatar, Jack, and how he interacts with his new neighbors, and how they interact wit him. I use stories that have happened to me. Street Code recently transitioned from being a Zuda webcomic to being on the ComiXology and the DC Digital app.

The particular story I’m working on now is called “Beef with Tomato,” which is my love letter to New York City and a slight homage to Charles Bukowski’s Ham On Rye. This will end up being the sixth “issue” of Street Code on the digital app but, fingers crossed, if the transition to digital is popular for Street Code then it’s possible it could yield more stories in the future.

Then what I’m working on next is a backup feature to Marvel’s upcoming Spider-Girl #1 – written by Paul Tobin, who’s writing the regular series as well. And it features a young version of Spider-Girl before she became Spider-Girl; her father was a reporter, and she goes with him on a visit to the Baxter Building to interview Sue Storm. It gives me a chance to draw the lumpy version of the Thing. It’s a wink at the old Stan Lee/Jack Kirby stories. It’s probably why I got hired, because Marvel is paying attention to how much I love Kirby and old Marvel comics.

It’s not too retro … It’s not me getting my Mad Men on and drawing Sue Storm as January Jones, but it will be a lot of fun.

Arrant: Are you doing just the first issue, or is this an ongoing backup?

Haspiel: This is just for the first issue; who knows if I’ll get another gig. It’s possible that, by the end of the year, I’ll have scored another long-form gig.

And coming in December we’ll finally see the release of the Woodgod story I did for Marvel in Strange Tales #3. My Woodgod story is my Marvel Two-in-One homage; it features the Celestials and the Thing.

I finished my art for the original graphic novel Cuba: My Revolution last December, and I reunited with Jonathan Ames to do some things for the second season of Bored To Death, which starts Sept. 26. It was a lot of work. Jonathan and I cobbled together some of the artwork for Season 2 and designed a Super-Ray minicomic to promote the show at the current comic cons. At San Diego, they hired people to dress up as Zack’s Super-Ray character to pass out the minicomic. I was also passing them out at my table at last weekend’s con in Baltimore, and I’ll also have them at SPX and the New York Comic-Con.

Arrant: That’s a lot, but like you said you’re wrapping up – or have already wrapped up – most of these. What’s your big project in the future you’d like to work on?

Haspiel: I’m always trying to pitch my next big book. I’m used to working on one major project throughout the year, and then fitting in smaller projects, like things on ACT-I-VATE or the Deadpool story I just did for Marvel. I love those challenges, but I also like the security of having a 120- to 140-page graphic novel to work on throughout the year while taking these small jobs. But I don’t have that large job right now. I’ve been pitching some long-form stories, and collaborating with different writers I like to work with. The trajectory I’m aiming for is to be able to write more. I hope that’ll happen at some point.

Super Ray minicomic for HBO series 'Bored To Death'

Arrant: After all the work you’ve done at Vertigo with other writers while also writing your own stories in a smaller clip, the next step for you is your own graphic novel there writing and drawing.

Haspiel: Yeah, I have my ideas. I made my hay doing memoirs and semi-auto-bio comix, but my passion is doing superheroes, psychedelic romance and science-fiction noir.

Arrant: I know we’re jumping around here, but how was your first day back at work after winning an Emmy for the title design on Bored To Death?

Haspiel: I got in at 1 a.m. off the flight back from California, placed my Emmy on my dresser, caught about six hours sleep then had to finish a gig inking a cover of an upcoming series at Marvel. I went right back to work.

Arrant: So no rest, huh?

Haspiel: Not much, but this is the kind of work I’ve been itching to do. Right now I’m doing what I can do the best I can so editors will shine a light on me and see where I stand at Marvel. This is what I think: There are segments of the superhero books that are “blockbuster” comics; the regular titles are ones where I wouldn’t necessarily fit with in terms of the ideology or the look or feel of it. But there are also titles, like the ones Nathan Cosby edits, and the ones Paul Tobin writes, that are more cartoony and allow for a Silver Age feel. As long as they keep producing those comics, I’ll have a potential place there professionally.

But at the same time, you don’t need to be working at Marvel or DC to make a living in comics. For me, it’s a choice and a desire to work on franchise comics because that’s what I grew up reading.

Arrant: I understand what you’re saying about those “blockbuster” comics, the top-tier books. I’d hate to see you try to alter your style to fit into that mold.

Haspiel: Don’t take me wrong, I don’t think there’s a house style, per se, but there’s a perception amongst editors of what the audience wants. There seems to be a polarization between the comics I grew up with, the comics I draw and like, and then the comics today that are the neo-realistic Hollywood blockbusters of comics.

I will tell you this, though – one guy I really admire because he dances between cartoony and stylized is Stuart Immonen.

Arrant: Yeah, I’m interviewing him later this week for Robot 6.

Haspiel: He’s great. I wish I had half his talent. That guy really creates a great balance; I see him as an artist at the crossroads, acknowledging the tradition of Marvel Comics in the older style, while also standing shoulder-to-shoulder with what’s currently being published in the franchise.

Arrant: Did you see the recent book he and Kathryn [Immonen] did at Top Shelf, Moving Pictures?

Haspiel: It’s beautiful. He’s a master storyteller and draftsman. He gets it.

Arrant: Jumping back to Bored to Death before we descend into more comics, what exactly did you do for the new season? Did you do new title credits?

Haspiel: The title credits are the same. This time I did more artwork for the Ray Hueston character played by Zack Galifianakis. In Season 2 we get to see more of his life, his studio and art table – and that’s my artwork he’s doing. And a particular comic book he draws in the show, we see some of that. The season is going to be eight episodes, and in the season finale it culminates in a comic convention in which I make a cameo, as well as other Brooklynite cartoonists.

Arrant: Has that been filmed yet?

Haspiel: Yeah, it’s already been shot, but I don’t know what’s going to make it out of the editing room and into the final scene. It was shot at the Brooklyn Lyceum where King Con is held.

Cuba: My Revolution (DC/Vertigo)

Arrant: From King Con to Cuba, your next big release is Cuba: My Revolution from Vertigo. I just received a press copy, and although I haven’t read it yet, I keep coming back to your artwork and José’s [Villarrubia] colors. How do you normally handle things with a colorist?

Haspiel: Well, the major works I’ve done have been in black & white  — The Quitter and The Alcoholic. For those toned works, I trusted Lee Loughridge to know what to do. I see pages as they come in and give notes on a few alterations, but basically it’s just a matter of adding a couple greytones to help shape some of the pages. With José and Cuba: My Revolution, he’s a master artist and painter himself. I handpicked him because I love what he does. He comes from outside of comics, and teaches art in Baltimore. So with him on board, so much more has been added to this project. Plus I wanted someone Spanish to help me realize this view of Cuba. Although he’s from Madrid, Spain, and not Cuba proper, he adds that Spanish flavor to the book.

I knew going in I wanted a limited color palette because I love the simple two-color treatment like I did on Billy Dogma, which I felt was needed for this. I don’t like to use color as color but as a tone. I knew that if I could get José on-board to color it as adding tones, and get him to bring his A-game, explore and experiment with the limited gamut, then this would look great. Our aim was to evoke an era from the late 50s and early 60s; I wanted this to look like a cross between a Preston Sturges film and I Love Lucy, even though the content of the book is very severe and dramatic.  Most of the book is black and white with gray tones, but the introduction of the passionate color of red gives you a multitude of variations: pink, salmon, blood, communism, romance and revolution. I knew that when we settled on this color scheme I was excited what José was going to do with it.

Arrant: So how would the coloring process work?

Haspiel: José would do a first pass on a page, then me, the writer, Inverna Lockpez, and editor, Joan Hilty, would make notes and send it back to José to finally arrive at what is published. With a limited palette, you may not believe it but it’s harder to decide what to assign colors to. Orchestrating the color palette, choosing the paper stock, as well as the design of the book, all came together into something I’m very proud of. I’ve described the book as something you might find if you dug a shovel into the sand of Cuba; when you pull out that dirt, you’ll find Cuba: My Revolution. That dirt gives you a sense of time and place you couldn’t otherwise document.

Arrant: Did you go, or at least think about, trying to make it in to Cuba for research on the book?

Haspiel: I would have loved to go to Cuba during the making of the book, but I never figured out a way to do it. I would like for it to be translated into Spanish; that was one of my first notes towards the publisher. I’m excited to see what the reaction will be to Cubans, but also a little scared. If you’ve ever met a Cuban who has lived in Castro’s Cuba, the ideology there polarizes people. It’s a very black-and-white subject for Cubans from Cuba, and while some people believe in Castro’s ideology and fight for it, others are vehemently against it. I know you haven’t read the book yet, but the majority of it is in support of Castro’s Cuba from the eyes of the protagonist because she buys into the ideas at an early age, joins the militia and becomes a surgeon. But slowly, with evidence from family and friends beginning to leave, she herself is betrayed by the regime and is tortured by sharing the ideology. With most of her friends and family gone, she’s the last one to break and leave. It’s about the story of Sonya, this woman who, when she finally emerges as an artist, can’t express herself freely in her own home and country and has to leave and come to America to tell her story. It took Inverna a long while to tell her story – a good fifty years.

Arrant: And this project came about from you knowing Inverna and pitching it to Vertigo. I’ve always known you as one of those people who knows everyone. You gave a film producer the idea to do a movie based on Harvey Pekar’s work, you created the personal webcomics collective ACT-I-VATE.com, wrangled your Gowanus, Brooklyn, studio DEEP6, and you’ve been close with Jonathan Ames in comics and now with the HBO show. I know working on comics can be a solitary experience sometimes, but how does the socializing part of things affect you?

Haspiel: For Harvey’s American Splendor film, it all started when I was an assistant to Ted Hope. While I was working at his house, I uncovered a script for American Splendor written years and years ago, as well as – believe this – a script for “Ed the Happy Clown” from Chester Brown’s Yummy Fur. I told Ted, “Wow man, I didn’t realize you had these things!” I had just finished a comic with Harvey and I told Ted how cool an American Splendor film would be. Ted liked the idea, so I talked to Harvey about it. Harvey was initially hesitant about it because he’d heard this kind of story before and how it backfired, but Harvey said he’d talk to Ted. So Ted and Harvey talked, and a year and a half later this amazing movie came out. It was an award-winning, incredibly innovative film.

I also just saw a rough cut of James Gunn’s upcoming film Super, produced by Ted Hope, starring Rainn Wilson, Kevin Bacon and Liv Tyler; that’s another low-budget film coming out to watch for. The only way I can describe it is that it’s like a cross between Taxi Driver and Dan Clowes.

For ACT-I-VATE, it all started out by just talking to people. It seemed to scratch a certain itch that I couldn’t find elsewhere. That kind of thing sometimes gets me in trouble, in terms of not making my own work because I’m matching people up and helping getting balls rolling. Plus there’s the fact that since we live in a world of artists, writers and creators, we spend 50 percent of the day branding ourselves with social networking and such. Today, you can’t rely on a publisher to market you; it’s actually gotten harder to market because of the Internet. I spend at least 50 percent of my day hyping, and cobbling together things for other people. Maybe these concentrated efforts will yield me a position as an editor or organizer of a publishing imprint. I only have so many stories in me that I want to show and tell in comics, and my attention gets distracted by working with other truly talented people who create wonderful content, perpetuating the comics form, and doing other kinds of storytelling.

Arrant: Do you think the socializing and networking helps you when you sit down to do comics?

Haspiel: Absolutely. Of course. I know people who can’t or won’t do it, and that’s fine. Maybe it’s a focus issue or they can’t deal with distraction; I respect that. But I can’t move a pencil eight hours in a row; I’m getting older. Drawing is my least-favorite part of making comics. I enjoy doing layouts, conjuring ideas and working on dialogue. It’s the actual execution and craft of comics that’s the doldrums for me. To make it fun, I work around like-minded people like the crew at DEEP6. Sure there’ll be lulls and the ebbs and flows, fights and such –- it has its pros and cons like any office environment. Then you remind yourself you’re sitting among a bunch of folks doing what you love, and although we sure can complain like the best of them, it’s a fantastic thing to be able to spend each day writing and drawing comics. That’s what I like to do, and that’s what we do. I’ve become unemployable otherwise.

But, in this day and age, I wouldn’t know how to get a job outside of the comics and film industries. Sure, I sit at my art table eating a peanut butter and jelly sandwich a lot more than I’d like to. I work until midnight most nights, six days a week, and there’s an irony to that. Sometimes I look out the window and wish I was at the beach, or could stop and watch a movie and eat dinner with my girlfriend. I guess I let my ego get in the way, because I think I’m creating a testament to my life here. I draw other people’s stories, too, because I believe I’m a good collaborator and I like working with people, but I would also like to experience life more, outside of my work, so, when I do write and draw, I can report my life and allow for hindsight to be expressed like how I do with my work on Street Code and Billy Dogma, both very emotional auto-bio comix.

Arrant: What’s it like having these avatars of you floating around: Billy in Billy Dogma, Jack in Street Code and Ray in Bored to Death?

Haspiel: The character in Bored to Death is only very loosely based on me; I don’t consider it to be me at all. There are some background story elements we share to help fill out the character – but Zack and Jonathan have fully realized the Ray Hueston character on their own.

But on the subject of avatars, I think that if you buy into the concept of “write what you know,” then I can’t help but include variations of myself. I think my personal works are like variations on those Russian dolls where they are different-sized versions of the exact same thing.

Arrant: Does it ever sneak into your non-auto-bio comix?

Haspiel: I just wrote and drew a story for Deadpool #1000, and I put a version of myself, a conflict I know very well, in that job. In the Woodgod tale for Strange Tales v2 #3, that’s all me. It’s rare that I get to write franchise characters but, ultimately, I write what I know. In Cuba: My Revolution, I cast myself as one of Sonya’s torturers. The writer, Inverna, was having emotional trouble embracing her story as visualized, as it dug up buried memories. So, in a weird and bizarre solution to help counteract her troubles, I elected to cast myself as one of the torturers to be there for her. In a twisted way I was protecting her. Comforting her.

Arrant: Do you find yourself drawn to franchise characters like the Thing and Woodgod because you see yourself in there somewhere?

Haspiel: Definitely. I love the Thing. He’s a tragic monster. Not that I’m walking around like Ben Grimm, but there’s also a bit of romance in his depiction that I respond to. Even though he’s sold as “the ever-loving blue-eyed Thing,” I understand his main story to be that of a tragic, creature romance comic. We all hurt, feel pain, and that’s one of the universal things we can latch onto – our vulnerability. One of the reasons Jonathan Ames has been so successful is that he understands you have to be vulnerable to tell a powerful story; it’s about showing that you’re vulnerable, or you become vulnerable. There’s nothing you can do when you’re standing before a knight in shining armor; the heroes I like to tackle are the flawed ones, the one who have problems, who make mistakes and learn. We all make mistakes, and we’re always learning.

Arrant: Do you mind if we talk about Harvey and his passing?

Haspiel: Sure, it’s okay.

Arrant: Now that some time has passed since Harvey Pekar’s death, are you at peace with it? Do you ever forget he’s gone and want to give him a call, or expect a phone call from him?

Haspiel: Yeah, I can’t believe he’s dead – bottom line.

I don’t even know how to answer. I hope he’s at peace. Not that he lived an especially hard life, but he lived a small life, a common life, and was somehow able to exploit that artistically, which was great; not many people can do that. Yet, if you want to learn about Harvey Pekar, it’s all out there in his comics. You know, I think maybe his death was poetic. Sometimes people will die and it seems like they were taken away far too soon. Yeah, seventy is a young age to die at, but I think it’s okay. And it’s a shame he didn’t get to tell his last story – you don’t get to do that with autobiography. That’s his wife’s job, or maybe his many collaborators.

Harvey Pekar was a consistent, like a smoke signal, observing what was around him and reporting on it. Because of the storytelling medium he worked in, the oracle of Harvey Pekar will always be around for us to read and ponder.

And it’s encouraging to me that his stories encourage you to tell your own story. It was Harvey Pekar’s work that I read as a teenager that showed me that comics didn’t have to be just superheroes or genre-oriented work. He convinced me of that.

Arrant: Where do you see yourself in five years, Dean?

Haspiel: Well, there’s the cynical part of me that sees it one way and then there’s where I hope I’ll be. Where I hope to see myself in five years is writing and drawing my own stories, my own comic books, and also working in television and movies. I’d like to create a show, and write and possibly direct it. That’s what I’d like to do. In my early years, I went to SUNY Purchase to study filmmaking. I love music, and sound. I don’t get to do that in comics, and I’m not satisfied by animation except for PIXAR. I think what they do is brilliant, but I’m not interested in working in that medium. For me, its either static images like comics or working with live actors in film.

Arrant: Have you taken any steps towards these film ambitions?

Jonathan Ames, Stephanie Davis, Vanja Cernjul, Dean Haspiel, Jennifer Ferguson

Haspiel: I’m working up a couple of screenplays I wrote years ago, dusting them off and pitching them as graphic novels. But I’d love for them to go their original intended direction and become films. I’ve always thought in terms of movies; a ninety-minute/two-hour story, but because I’ve been working with Jonathan Ames on Bored to Death I’m rethinking that. There are some great shows out there – Breaking Bad, Mad Men, Lost, Battlestar Galactica, Deadwood, 30 Rock. I’m really looking forward to The Walking Dead TV series. I think television has become a great way to tell a story. With movies you tell one story and it’s finished, but with television it’s episodic and you’re given the latitude to advance characters and situations and story arcs. You’d think that I’d have a good grasp with episodic storytelling since I work in comics, but with television the minute you start dealing with real money it’s a whole new ballgame. The great thing about comics is that you can truly experiment with new ideas on a page, and because there’s no budget on what you can draw on a page, it can do pretty much anything. It doesn’t cost that much to produce and print a comic – but that’s kind of a crime, because in comics there are many creators out there coming up with fantastic ideas and trying out new things, to only get poached by other more expensive mediums that pay better. And you know, it’s tough to make a buck in comics even when you’re at your most successful.

Look at me, I won an Emmy and I have a book coming out that people are excited about that could entice the literary crowd and be made into a movie. It might also tickle the fancy of superhero readers – you never know – because fans are hungry for a wide range of stories. But with all that, I don’t have health insurance; I eat cheap; I live small. It’s not to say I’m a great storyteller that deserves more because there are a lot of great storytellers out there in my same situation. Jack Kirby alone came up with half the ideas being done today in our culture. Comics have become some kind of IP farm for savvier businessmen to reap.

Cartoonist Dean Haspiel was among the winners of the Primetime Emmy Award for outstanding main title design for HBO’s Bored to Death. Haspiel, who’s best known for Billy Dogma and his work with Harvey Pekar, shares the award with collaborators Tom Barham, Marci Ichimura and Anthony Santoro.

The category was among those announced Saturday at the Creative Arts Primetime Emmy Awards ceremony at the Nokia Theatre in Los Angeles. Emmys in 26 other categories will be presented Sunday during the 2010 Primetime Emmy Awards telecast on NBC.

Back when Zuda, DC’s webcomics contest site, was still kinda fresh and new, Dean Haspiel pitched a couple of comics and the editors picked his semi-autobiographical Street Code as an instant winner. Haspiel, as he himself points out in the Zuda blog, shows his work in a lot of venues, most notably online as a founder of the Act-I-Vate webcomics collective. But when Zuda folded its tent, rather abruptly, a few months ago, the comics hosted there were left homeless.

Now Street Code has joined the migration of Zuda comics to the ComiXology platform. As Haspiel says in his blog post, “my stuff tends to serpentine around what’s popular for general comic book audiences,” but he draws an interesting analogy as to why ComiXology is a good fit:

if Vertigo, my bread and butter publisher the last few years, has been dubbed “the HBO of comics,” then I posit that Zuda is “the IFC of comics,” where, like ACT-I-VATE, alternative concepts are refined online with the distinct intent to expose and develop fresh voices that could otherwise be lost in the gutters.

An interesting theory, although it may be hard for Zuda to keep an independent identity when its comics are simply lumped in with all the others at ComiXology.