Ayer Reveals Jared Leto's Tattooed "Suicide Squad" Joker
Eben Burgoon’s goofy comedy The B-Squad is the story of a ragtag crew sent off on various missions around the world. He brings considerable comedic energy to the story, and the twist is that a member of the squad is killed off in every issue. Burgoon chooses who to kill at random by (in real life) spinning an antique sailor’s gambling device made of whalebone.
The first issue was funded on Kickstarter, and you can download it for free from the shop at the B-Squad website. Now Burgoon is running another, more ambitious Kickstarter to fund the rest of a six-issue run and print it as a graphic novel. In Issue 2 (which was privately funded) and Issue 3, the story takes place in Tapigami, the masking-tape world of real-life artist Danny Scheible; the team is sent to rescue Bill Murray, who has been kidnapped by the artist.
It’s not unusual for a comics creator to visit a classroom, but the program that Eben Burgoon led for the Sacramento, California, nonprofit 916 Ink was much more than that: a six-week workshop in which elementary school students learned to write comics, then pitched their stories to professional artists who worked with them on the finished product. The workshop included a variety of exercises and techniques, including the “Marvel Method” — Burgoon gave the students pages of finished art and had them fill in the word balloons — and making up the backstory for a random LEGO Minifig.
916 Ink promotes literacy by encouraging young people to write their own stories and poems, and it has published more than 25 books of student work. Its comics program is new and was spurred by demand from both parents and students; the finished work, released this week, will be available in local comics shops, through the 916 Ink website, and eventually through other channels.
We spoke with Burgoon about what he did with the students, how they worked with the artists, and why he thinks comics are a good medium for a literacy program.
Museums | So what is the deal with the move of the Museum of Comic and Cartoon Art to the Society of Illustrators? They are being “transferred and acquired,” says MoCCA President Ellen Abramowitz, although the headline on this article says “rescued.” “After the transition, the Society of Illustrators will go on to be the sole overseer and manager of the holdings. ‘It’s in excellent hands,’ said Ms. Abramowitz.” [The Wall Street Journal]