Merc With A Movie: The 16-Year Odyssey of the "Deadpool" Film
As a newspaper broadsheet it was always able to do so literally, but now the alternative comics anthology pood has folded in the unfortunately metaphorical sense. Writing on the pood blog, co-founder and co-editor Geoff Grogan says the publication’s fourth issue will be its last.
Through pood, editors Grogan, Kevin Mutch, and Alex Rader published a wide array of challenging, often unfashionable altcomix work, by creators ranging from Jim Rugg to Hans Rickheit to (in the anthology’s fourth and final issue) DC and Dick Tracy artist Joe Staton. But Grogan says that the project, always a labor of love, was a quixotic one in today’s marketplace: Its unconventional newsprint format, uncommercial contents, and budget-necessitated lack of a dedicated PR person made it impossible to generate enough revenue to continue the series.
“Comics? Not comics? It only matters in so far as it means someone will (or won’t) pick up the book and take it home.”
–Geoff Grogan, co-editor of the newsprint anthology pood and creator of the multimedia comics (hey, I’ll say it if he won’t) Look Out!! Monsters and Fandancer, on the only definition of “comics” worth a damn. Whether it’s Prince Valiant or Kramers Ergot 4, I’ve gotten a lot less concerned with using definitions to define a given work right out of the comics discussion. The best way I know how to put it is this: Comics is any art you can read.
Look at the size of that thing! It’s pood #1, the new newspaper-style alternative-comics anthology edited by Geoff Grogan, Kevin Mutch, and Alex Rader and featuring contributions from Jim Rugg & Brian Maruca, Hans Rickheit, Sara Edward-Corbett and many more. And in this video, you can sort of get a sense of just how much comics is packed onto each page. You got a better way to drop four bucks on a funnybook?
I came to shop.
Seriously, I was just about as excited for this past weekend’s MoCCA festival as I’ve ever been for any comic convention. And it wasn’t because of the guests or the panels or even getting to see so many of my friends and colleagues — it was because of the comics. The best thing about a small-press show is your ability to dig into the tables and come away with enough treasures to keep you reading happily for weeks. Proceeding from the top left of the picture above in as logical a fashion as I can manage, here’s a rundown of my personal treasure trove…