Gabriel Hardman Archives - Robot 6 @ Comic Book Resources
Fans of Gabriel Hardman‘s Kinski get a double treat this week, as the original Monkeybrain run of the series wraps up with the digital release of Issue 6, while at the same time Image Comics has collected all six issues in a $14.99 trade paperback.
To mark the occasion, ROBOT 6 reached out to Hardman for any bonus material he was willing to share . He obliged us with a rejected cover. He also offered the following explanation:
After the January Image Expo, Image Comics received some flak because most of the creators on stage were white men. On Wednesday, Publisher Eric Stephenson’s keynote address to the Image Expo held in conjunction with Comic-Con International included the following comments: “If we want to build a more diverse industry, though, if we want to develop a more diverse talent pool, then it is of utmost importance that we produce comics that appeal to as wide an audience as possible …”
That was said within the context of the historic gender disparity in comics, especially when looking at mainstream comics and the direct market. There’s more evidence than ever that the gender disparity in readership is no longer true; women are just as likely to read comics as men. If that’s true, then one would hope that just as many would be likely to attempt to make comics. That doesn’t seem to have come to pass in this corner of the industry, but Image announced a trio of upcoming releases that will hopefully start to shift the momentum in the right direction. If nothing else, these are among the most promising books to be announced at Image Expo, and they build on the gratifying surge in creator-owned comics.
On the first day of HeroesCon 2014, the 32nd edition of the Charlotte, North Carolina, comics convention founded and still run by Shelton Drum, I tried to cover a lot of ground in taking photographs. When possible I found out about the current or upcoming projects in the pipeline for the creators photographed.
As a kid, The Phantom was one of my favorite comic strips. So last year, I was enthused when I learned that writer Jeff Parker was collaborating with artist Marc Laming on a miniseries called Kings Watch, starring Flash Gordon, The Phantom and Mandrake the Magician.
Ahead of the July release of the trade paperback collection, I spoke with Laming about the miniseries, and to briefly discuss how the project has opened the door for future work for him. My thanks to Laming for his time and to series editor Nate Cosby for facilitating the interview.
Emerald City Comicon may not come with the metric ton of announcements that Comic-Con International does, but in a way it’s all the better for it. Comics still feel as if they’re front and center just where I like them, and the announcements have more charm because they aren’t screaming to be heard over the din of film and television rollouts.
One year, I’ll get up to Seattle to experience the event firsthand, but in the meantime, I get to absorb all the news and photos like everyone else, as they’re posted online. ECCC even streamed all of its panels on flipon.tv. Anything that happened in Room 301 is free for anyone to watch. Everything else can be purchased with a full archive pass for $14.95. Or if, you don’t want to sit through hours of panel footage, there’s CBR’s coverage or, heck, try Google or something.
A number of announcements jumped out as particularly noteworthy, so let’s run through The 6 Best Things from ECCC. And from my count, Dark Horse won Emerald City. Your miles may vary though, so post your favorites in the comments.
Our annual “Looking Forward, Looking Back” feature continues, as we ask various comics folks what they liked in 2013, what they’re looking forward to in 2014 and what projects they have planned for the coming year. In, this final round, we hear from Vito Delsante, Jacq Cohen, Mark Sable, Dean Haspiel, Joshua Williamson, Jordie Bellaire, Paul Allor, Adam P. Knave, Tim Gibson, Bryan Q. Miller, Nathan Edmondson, Ann Nocenti, Jason Latour, Paul Tobin, Ming Doyle, Jeff Parker, Francesco Francavilla and Gabriel Hardman.
And if you missed them, be sure to check out Part 1, Part 2, Part 3, Part 4, Part 5 and Part 6 where we heard from Jimmy Palmiotti, Tim Seeley, Chris Roberson, Kurt Busiek, Faith Erin Hicks, Tyler Kirkham, G. Willow Wilson and many more.
Once in a while, when I go into the comics shop to snag my weekly pile, there will be something on the shelf that catches totally unaware. On Oct. 2, I was delighted to discover the Comic Book Legal Defense Fund’s Liberty Annual 2013 (published by Image Comics). Given that all the proceeds from the book (previewed here at CBR) benefit the CBLDF, I wanted to interview Dark Horse Editor-in-Chief Scott Allie, who directed the project. While I had his attention, I couldn’t pass up the chance to discuss some of the Dark Horse line as well.
Tim O’Shea: While seemingly an obvious question, I still think it worth asking: Why is it so important to you to volunteer your time for a project like the CBLDF Liberty Annual?
Scott Allie: Free speech is a near and dear cause, for me and for Dark Horse, and it’s still an uphill battle for comics. There are preconceptions about this art form that invite attacks, and we need to work to defend against that. I want creators and publishers to be free to put out what they want to put out, and for retailers to sell it without fear of prosecution, for readers to travel with their books without fear of incarceration. The CBLDF isn’t just about raising money in court cases. They’re about educating the population about the art form we love, and I want to be a part of that.
BOOM! Studios and its imprints KaBOOM! and Archaia Entertainment have announced their exclusive comics and prints for New York Comic Con, held Oct. 10-13 at the Jacob Javits Center in New York City. All of the convention exclusives will be available for sale at the BOOM! booth (#1344), where a number of creators also will be signing.
ROBOT 6’s Corey Blake wrote a great piece last month on the evolution of digital comics and the innovations that make them more than just electronic copies of print comics. Without repeating what he said, those innovations raise a couple of questions that are also worth talking about: What are we going to call this new format and does it even need a separate name?
Gabriel Hardman (Star Wars: Legacy, Kinski) recently asked on Twitter, “Is there an accepted name for the Thrillbent/Infinite style of digital comics?” Even filtering out all the joke responses (my favorite is Dennis Culver’s “Labor Intensive”), the answer seems to be no.
A couple of folks note that Scott McCloud’s Infinite Canvas (or, alternatively, Expanded Canvas) is a common term, but Hardman observes that it could be seen as pretentious, which might keep it from catching on. I like the idea of letting McCloud name it — he more or less came up with the idea — but it does remind me of how it sounded when comics fans all started referring to the medium as “sequential art.” It’s a great term for talking about comics academically, but not so good for popular use.
Though I can appreciate that a lot of reviewers don’t have the artistic vocabulary to really review art, they always have lots to say about the story. An analysis of the storytelling would be interesting.
– Marvel artist Declan Shalvey, on how comics reviewers can better discuss visual art in criticism.
It’s a commonly recognized phenomenon that reviewers tend to focus on the writing part of comics, because they are, after all, writers and that’s what they have the vocabulary for. Criticism of visual art requires a different set of terms that frankly, not a lot of comics critics know. Shalvey pokes holes in that excuse, however, by offering for critique an aspect of comics art that writers should already be equipped to discuss: the effectiveness of visual storytelling.
Thirty-six questions. Six answers. One random number generator. Welcome to Robot Roulette, where creators roll the virtual dice and answer our questions about their lives, careers, interests and more.
Joining us today is Gabriel Hardman, who is co-writing and drawing Star Wars: Legacy and co-writing Planet of the Apes: Cataclysm. He’s also the creator of Kinski, a new digital miniseries from Monkeybrain available now through Comixology.
Now let’s get to it …
When artist Gabriel Hardman isn’t drawing comics, he’s drawing for movies. His affinity for films manifests itself in several ways, including his willingness to share his film knowledge via Twitter. Beginning May 15, that love of movies will be partially reflected in his new Monkeybrain Comics project Kinski (available for preorder).
It’s the story of a fellow who finds a dog, and the events that unfold from there. This project is a departure for Hardman, who acknowledges Kinski has “much more of a quirky, indie vibe than any of the other comics I’ve done prior. Coen Brothers-esque.” Hardman with a Coen Brothers bent served as great fuel for my questions (and while he initially referenced the Coen Borthers, in our discussion he’s quick to also cite Martin Scorsese’s After Hours and the Terrence Malick-written Pocket Money as influencing elements).
Tim O’Shea: In tackling a story that is a quirky departure from your normal fare, how did you settle upon making a dog the main catalyst of your story?
Gabriel Hardman: I like the idea of using a dog to spark the story because animals are chaotic. They don’t have the same set of social rules to adhere to as we do. Dogs don’t care about our problems! They can send the story off into unexpected directions. But even though Joe, the lead character, finding the dog starts the story, he’s using the dog as an excuse to ignore other things in his life he’s having problems with. Mainly his unfulfilling job as a bird feed rep. He decides he’s going to save this dog, no matter the cost. It’s a crusade! But crusades usually don’t turn out so well.
Hello and welcome to What Are You Reading?, our weekly look at all the comics and other stuff we’ve been checking out lately. Today our special guest is Chris Sims, senior writer for ComicsAlliance, blogger at Chris’s Invincible Super Blog and writer of comics like Dracula the Unconquered and Awesome Hospital.
To see what Chris and the Robot 6 crew have been reading, click below.
It’s time once again for our monthly trip through Previews looking for cool, new comics. We’ve each picked the five comics we’re most anticipating in order to create a list of the best new stuff coming out two months from now.
As usual, please feel free to play along in the comments. Tell us what we missed that you’re looking forward to or – if you’re a comics creator – mention your own stuff.
Comic Book Creator #1 (TwoMorrows, $8.95): I still fondly remember the now-defunct Comic Book Artist magazine from years ago, and now the creator of that magazine, Jon Cooke returns with a new 80-page offering to take its place. With a first issue filled with Jack Kirby, Kurt Busiek and Alex Ross, this is a must-read for me.
Mark Waid’s The Green Hornet #1 (Dynamite, $3.99): Waid has been having a career renaissance, in terms of recognition at least, and that led to getting his name on the title of this new revamp of Dynamite’s Green Hornet line (art is by Daniel Indero). I dig the creator, I dig the character, and I’m looking forward to seeing what happens when the two collide.
The Secret History of Marvel Comics HC (Fantagraphics, $35.00): I’ve been looking forward to this one since I first heard about it. Blake Bell looks at the non-comics material being published by the company that would one day become Marvel Comics, including pulp and girlie mag work by Jack Kirby, Bill Everett and Dan DeCarlo. It’s like the perfect companion for Sean Howe’s Marvel Comics: The Untold Story!
Star Wars: Legacy — Prisoner of the Floating World #1 (Dark Horse, $2.99): As if the Brian Wood series wasn’t enough to get me back into Star Wars comics, now we get a new series from the Planet of the Apes team of Corinna Bechko and Gabriel Hardman? If these are the final days of Dark Horse’s Star Wars license as many are rumoring, then they’re definitely going out with a bang.
Wake Up, Percy Gloom HC (Fantagraphics, $24.99): I fell madly in love with Cathy Malkasian’s beautiful Percy Gloom graphic novel a few years back, which was as beautiful as it was unexpected, so there is little to no way that I am not eagerly anticipating this follow-up. For those who like gorgeously-illustrated, melancholy and touching books: This is for you.
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.
It’s beginning to look a lot like the final Wednesday before Christmas (and the final full one of the year), so with my $15, I’d get some gifts for myself that I know I’ll enjoy: the second issue of Chris Roberson (and now, Dennis Calero)’s Masks (Dynamite, $3.99), the third issue of Brandon Graham’s Multiple Warheads: Alphabet to Infinity (Image, $2.99) and Francesco Francavilla’s The Black Beetle: Night Shift #0 (Dark Horse, $2.99). Also, I suspect that I’ll be unable to resist the first part of Vertigo’s adaptation of Django Unchained (DC/Vertigo, $3.99), too.
If I had $30, I’d add another pile of favorites to that list: Judge Dredd #2 (IDW, $3.99), the by-now-amazingly-late-but-still-enjoyable Bionic Woman #6 (Dynamite, $3.99), Hawkeye #6 (Marvel Comics, $2.99), and the latest issue of the always-wonderful Saga (Image, $2.99).
When it comes to splurging, however, then I’m going to be playing it relatively cheaply: That Star Trek 100-Page Winter Spectacular (IDW, $7.99) feels like it might offer just the kind of space-age cheer I’ll be grateful for by mid-week … Happy Warpspeed Holidays, all.