Merc With A Movie: The 16-Year Odyssey of the "Deadpool" Film
Welcome to Store Tour, ROBOT 6’s new weekly exploration of comics shops, and the people who run them. Think of it as the retailer version of Shelf Porn. Each Sunday we’ll feature a different store, and also get to know the person behind the register.
This week’s store is The Comic Room, located at 659 McCowan Road in Toronto, Ontario, at the intersection of McCowan and Lawrence Avenue East. We spoke with manager Sean Clement.
Making comics is generally a solitary experience, but there are a few pockets of camaraderie that have sprung up where artists share a space and work together. One of the most thriving spaces is Toronto’s R.A.I.D. Short for the Royal Academy of Illustration & Design, it’s where some of today’s top comic artists, including Francis Manapul, Ramón Pérez, Cary Nord and Kalman Andrasofzsky, do a majority of their work — and they’re now the subject of a short documentary film.
The celebration of Batman’s 75th anniversary didn’t end with Comic-Con International: The Dark Knight also graces the DC Comics poster for New York Comic Con.
As you can tell from “The Bronx” plastered across the head of the Caped Crusader in Francis Manapul’s illustration, Batman will be leaving Gotham for New York City, at least for one weekend.
Crime | Police in St. Charles, Missouri, are looking for a man who accosted an employee of the Fantasy Shop outside the comic store Monday morning and demanded she hand over a bank bag. The suspect, who indicated he had a gun, then fled with an undisclosed amount of money, leading to five local schools being put on lockdown for about 90 minutes. [St. Louis Post-Dispatch]
Creators | Francis Manapul and Brian Buccellato discuss taking over as the creative team of Detective Comics with Issue 30. “We just want to carve out a small space in the Bat-world and craft stories that resonate with the legions of fans out there,” Buccalleto says. “It’s a tremendous honor to be a part of this legacy.” [USA Today]
On his blog, Francis Manapul pulls back the curtain on his process for the cover of Detective Comics #32, from initial concept sketches to finished piece.
“I had a lot of fun coloring this piece, specially since I got to play around with the logo,” he wrote. “Its placement was integral to the composition and selling the idea of Batman getting pulled under water.”
Readers of DC’s Batwoman have had their fair share of surprises, but this month’s Batwoman #27 has another — but it’s a good one.
Former Flash co-writer/artist Francis Manapul is making a surprise appearance in this month’s issue, and it’s no simple fill-in. It all began as some last-minute help during the holidays but turned into something unique for everyone involved.
“Just before the holidays I got a call from one of my editors asking me for a favor,” Manapul writes on his website. “Now usually that’s followed up by a last-minute cover request with a quick turn-around time. Instead, she opened by telling me her request was rather unconventional. With the holiday season shortening many of the deadlines, regular Batwoman artist Jeremy Haun came up with a neat solution to that problem.”
The Forever Evil and “Gothtopia” crossovers don’t exactly dominate DC Comics’ January solicitations, but compared to the more mundane goings-on in the other series, they tend to stand out. For that matter, Forever Evil doesn’t sound like it’s promising much more than a lot of clenched jaws, dark humor and grim spectacle.
Still, if it has to happen sometime, it might as well be in January. I don’t mind January so much; it’s the darkest month of the year, but after a hectic holiday season it’s a chance to catch one’s breath. Going back to work after New Year’s Day and realizing there’s not much more to do but look forward to spring is like waking up at the crack of dawn and surveying a wide, flat, featureless plain — gray from the winter cold and just barely lit by the first rays of the distant sun — and realizing that if you’re going to make it across that plain, you’d better start walking.
Sometimes you just have to get through January, is what I’m saying — but sometimes getting through it isn’t so bad.
Whew! How was that for an intro? Weren’t we talking about comics?
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Creators | Pickles creator Brian Crane, who was recently named Outstanding Cartoonist of the Year by the National Cartoonist Society, talks about how he was ready to give up on his dream of being a cartoonist after his pitches were rejected by three syndicates, but his wife wanted him to keep going: “To prove her wrong, I sent it to The Washington Post Writers Group. She proved to be right. Since then, I’ve learned: She’s almost never wrong.” [Comic Riffs]
Comics | Chicago City Council recently passed an ordinance, which takes effect in July, regarding wage theft, and Interfaith Worker Justice, a Chicago organization, has put together a 32-page comic explaining workers’ legal rights and what recourse they have if their employers illegally withhold their wages. [Crain’s Chicago Business]
Happy Easter and welcome once again to What Are You Reading?, where we review the stuff we’ve been checking out lately. Today we are joined by Miranda Mercury and Voltron writer Brandon Thomas, whose collection of original art and other stuff we featured in Shelf Porn yesterday.
To see what Brandon and the Robot 6 crew have been reading, click below.
The first collected volume of the New 52 era of The Flash has hit shelves, and on its blog, DC Comics is showcasing rough layouts by artist and co-writer Francis Manapul. And they’re gorgeous.
In comic stores now (and in bookstores later this month), The Flash, Vol. 1: Move Forward collects the first eight issues of the run by Manapul and co-writer/colorist Brian Buccellato and doesn’t spare on the the extra features, with an inside look at layouts and sketches done by Manapul — some of which are being rolled out on DC’s blog (and below).
In the new wave of creators and runs from the New 52 relaunch, Manapul’s work on The Flash has been a standout for both its art and writing. As most of DC’s marketing is geared toward writers and story developments, it’s a welcome change to see the publisher leaning so heavily on the artistic component.
After years in the industry, Manapul seemed to come of age at DC, first with his work on the Superboy story inside Adventure Comics with writer Geoff Johns, then on the Flash title with Johns, and now on the New 52 Flash title. Much in the way Scott Snyder has become one of DC’s top writers, Manapul is emerging as one of the publisher’s leading artists.
Getting back to the subject of these excellent layouts, DC promises to post more on its blog later this week.
Hello and welcome to What Are You Reading? Today our special guest is Tim Seeley, whose work you may know from Hack/Slash, Bloodstrike, Witchblade, Colt Noble, the upcoming Ex Sanguine and Revival, and much more.
To see what Tim has been reading lately, click below.
Publishing | Three million-dollar Kickstarter drives, including Rich Burlew’s $1.2 million campaign for The Order of the Stick, make the fund-raising site look like a pot of gold to some folks, but it’s not that easy: Suw Charman-Anderson, who;s contemplating a Kickstarter drive herself, looks at the factors that make the big money-makers so successful. [Forbes]
Editorial cartoons | The New York Times has responded to Daryl Cagle’s criticism of its hiring policy and fees for editorial cartoonists, saying the newspaper will delay bringing political cartoons back to its Sunday review section until editors have had time to revisit their policies. [The Cagle Post]
Editorial cartoons | For those who want a look at the bigger picture, Columbia Journalism Review surveys the landscape of editorial cartooning and in particular, the economics of syndication. [Columbia Journalism Review]
The Dark Knight Rises is on its way. Man of Steel is filming. The costume from that David E. Kelley Wonder Woman show will finally get some air time. I wouldn’t even bet against Green Lantern 2.
So today, I’m here to talk about adapting The Flash.
Apparently a Flash movie has been in development for several years, at least since Green Lantern went into production (and from a few of the same folks). I don’t know the basics — which by now may well have changed — but I suspect many of us fans would start from the same points: which Flash, which Rogue(s), etc. After so many superhero-comic adaptations, we can derive certain formulae from the things.
However, to me The Flash is different.
The idea of super-speed is ideal for the comics medium, because time basically slows down for everyone but the speedster, and comics excel at playing with the reader’s perception of time. Ironically, though, in a moving-picture setting, the real effect of super-speed is trickier to pull off. Sometimes it works to show everyone else slowing down, as in The Matrix’s “bullet time,” the bionic running of The Six Million Dollar Man, or the tray-catching scene of the first Spider-Man. (Naturally, the last always seemed to be an homage to Barry Allen discovering his powers in Showcase #4.)
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a “Splurge” item.
If I had $15, I’d get one from almost every box–Image’s Invincible #85 ($2.99), DC’s DMZ #71 ($2.99), Marvel’s Wolverine and The X-Men #2 ($3.99) and independent title RASL #12 ($3.50). Not much to say about any of these I haven’t already said, except anytime Cory Walker draws a book I’d pay twice cover price.
If I had $30, I’d sneak out of Thanksgiving preparations to first get a book I was surprised I liked as much as I did, despite the last issue’s ending: Shade #2 (DC, $2.99). One thing I wasn’t amped to see was Deathstroke, but given James Robinson and Cully Hammer’s track record I’ll give them the benefit of the doubt. Next up would be the epic (in my mind, at least) team-up of Warren Ellis and Michael Lark on Secret Avengers #19 (Marvel, $3.99). Seeing Ellis boil down the concept into “Run the mission. Don’t get seen. Save the world.” Hits me right between the eyes, and this new issue’s preview has be salivating over it. Last up, I’d pay the giant size price tag for Fantastic Four #600 (Marvel, $7.99) although my patience has worn a little thin with ending the series then bringing it back for #600.
Publishing | IDW’s Chief Operating Officer Greg Goldstein attributes a bump in the company’s September sales to several factors, including DC’s big relaunch: “The reality is the DC New 52 brought some people into comic book stores that hadn’t been in comic stores for a while, and we had the opportunity to sell them some of our books as well as the other books that are available to them. But clearly, people who had not been focused on comics came out of the woodwork a bit.” It didn’t hurt that IDW had its own launches of properties familiar to those outside of comics, including the new Teenage Mutant Ninja Turtles series, an ongoing Star Trek series and the Star Trek/Legion of Super-Heroes crossover. [ICv2]
Legal | A Belgian judicial adviser has recommended that the nation’s courts reject a four-year-old bid by a Congolese student to have Herge’s 1931 Tintin in the Congo banned, or at least restricted, because of its racist depictions. The recommendation is being viewed as a major setback for the case, as the opinion of the Procureur du Roi (Senior Crown prosecutor) is requested and typically followed by the court. [The Guardian]