Comic-Con Trailers: The Best of the Best, Ranked
Conventions | Denver Comic Con kicks off today, with organizers expected a weekend attendance of 100,000 — a big jump from the 20,000 who turned out in 2012 for the first convention. This year’s event will also see tighter security measures, which will include the confiscation of prop weapons deemed potentially dangerous. “While we can’t discuss details, we look at different threats going on around us and we have made adjustments accordingly,” said organizer Tara Hubner, “and we will have a robust security presence on site.” [KDVR, CBS Denver]
Last weekend I posted a couple of ways you can help the victims of Hurricane Sandy, and here’s another one — Perhapanauts creators Todd Dezago and Craig Rousseau are offering a $20 Jersey Devil T-shirt on their site, with all proceeds going to the Red Cross. Help folks out and look good while doing it–what could be better than that?
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 go all-in on AvX: Vs #1 (Marvel, $3.99). As a story format-junkie, this seems like an ideal supplemental series to the event comic series as we know it – I may have read it wrong, but this seems low on continuity and high on action – kind of a throwback to the condensed comics of the ’60s, I hope. And seeing Kathryn and Stuart Immonen on this together is a big deal – wish they’d get more chances like this! Next up would be the finale of The Twelve, #12 (Marvel, $2.99). I argued with myself about waiting for the trade at this point, but at the end of the day I’m more interested in this than a lot of everything else going on out there. Plus, I bought the eleven previous issues so I should finish it out, right? Next up would be Spaceman #6 (DC/Vertigo, $2.99). I’m finding this series benefits from a deeper re-reading prior to each new issues, but it’s paying off in spades in terms of my enjoyment. This is definitely a palate cleanser after Azzarello and Risso’s run on 100 Bullets, but in a good way. Finally, I’d get Daredevil #11 (Marvel, $2.99). The Eisner Awards judges got this one right when they piled nominations on this book, because Waid, Martin, and Rivera have really made the quintessential superhero book here. The fill-ins from Khoi Pham and Marco Checchetto seem off-putting, but they’ve earned some lee-way after the murderer’s row of creators who started the book. Can’t wait to see Samnee on this, however.
If I had $30, I’d start off with an interesting looking project that’s gotten no press – Airboy: Deadeye #1 (Antarctic Press, $3.50). Chuck Dixon and Ben Dunn — what a pairing. After that I’d go back to get Supercrooks #2 (Marvel/Icon, $2.99); Mark Millar knows how to sell a high-concept, but it’s Leinil Yu that’s making me come back past the first issue. After that would be an Avengers two-fer: New Avengers #25 (Marvel, $3.99) and Secret Avengers #26 (Marvel, $3.99). I dropped off New a few issues back, but with this new issue covering some never-before-seen connections between Iron Fist and the Phoenix Force, I’m back in for this one. And Secret Avengers, well, Remender’s on a roll with his Marvel work and this is continuing on that without being an Uncanny X-Force retread. And guest artist Renato Guedes seems a better fit for this than his work on Wolverine.
If I could splurge, I’d lunge for a copy of The Art of Amanda Conner (IDW/Desperado, $29.99). I was fortunate enough to get a digital review copy of this earlier, and seeing it like that only made me want this more. Rather than just being a template art book plugging in her work, the design and packaging really go along with what you’d expect from Amanda’s tongue-in-cheek comic style. Reading this makes me want to go back and track down her earlier work that I missed.
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.
Cartoonist Hans Rickheit is a busy man. He’s maintaining not one but two ongoing webcomics, Ectopiary and Cochlea & Eustachia, both of which are much beloved here at Robot 6. And in a few short weeks’ time he’ll be launching an art show alongside Colin Panetta and Mark Velard at the Greenfield Art Salon in Greenfield, Massachusetts, starting on Aug. 5. How does he keep going? Well, I’d imagine effusive praise from one of the greatest living cartoonists might help — and that’s precisely what Rickheit got in the above letter from Frank creator and Congress of the Animals author Jim Woodring. Woodring, an intrepid chronicler of the underbrain in his own right, clearly recognized a kindred spirit in Rickheit when the younger cartoonist sent him a copy of his elaborate and powerful Fantagraphics graphic novel The Squirrel Machine. If I got a letter half as kind and complimentary from one of my idols, I’d dine out on it for months, man.
Hans Rickheit, who made Sean’s list of deeply creepy “alt-horror” cartoonists last Halloween, has just launched a new webcomic, Cochlea & Eustachea, which is even more surrealistic and deeply creepy than his slightly older (and much praised) Ectopiary.
On the About page, Rickheit notes that the lead characters have appeared in many of his other comics, starting with Chrome Fetus #5, but this is the first time they are getting their own comic. He only has two pages up right now, so it’s a good time to get on board.
(Via Scott McCloud.)
Back around Halloween ’09, I whipped up a little list of “six deeply creepy alt-horror cartoonists,” a list of modern masters of the macabre that included The Blot‘s Tom Neely and Ectopiary‘s Hans Rickheit. Now both artists are dealing with something even scarier than their comics: the economy. And both are looking for financial help to keep their projects going.
First up is Hans Rickheit, whose latest graphic novel The Squirrel Machine was published by Fantagraphics, and whose webcomic Ectopiary has had its praises sung by my colleague Brigid Alverson (among many others). Rickheit announced the other day that the business where he worked has closed down, leaving him without a job or income and forcing him to suspend production of Ectopiary indefinitely. “If you’ve ever considered buying any artwork or books,” he writes, “this would really be a very helpful time to do so.” You can buy pages from his Xeric-winning erotic-horror graphic novel Chloe here, pages from his steampunk-by-way-of-David-Cronenberg book The Squirrel Machine here, many of his comics direct from Rickheit himself here, or simply donate what you will here.
His webcomic Ectopiary has been earning rave reviews around the Internet, his graphic novel The Squirrel Machine appeared was best-of-the-year material in 2009, and his debut comic Chloe won a Xeric Grant. But creepy cartoonist Hans Rickheit’s next big project is a Folly. That’s the title of his forthcoming Fantagraphics collection, comprising the best material from his sometimes ugly, sometimes erotic, often astonishing minicomics series Chrome Fetus. Rubble, tubes, orifices, human-animal hybrids, rooms within rooms, and strangely discomfiting partial nudity will no doubt abound. Folly hits this Fall.
Before Halloween I posted a list of “Six Deeply Creepy Alt-Horror Cartoonists” as part of Robot 666’s week-long reign of terror. Well, these avatars of alternative comics’ dark side have been up to some interesting things lately. Feast your eyes on the latest enterprises of our strange sextet:
The Squirrel Machine‘s Hans Rickheit is selling original pages from his darkly erotic, Xeric-winning graphic novel Chloe. If you’re in the original art market you can buy them straight from the artist himself here; if you’d just like to take a gander at the book itself, you can buy it here. (And I recommend you do so.)
What do you think of when you think of horror comics? Vintage EC shockers, black-clad Vertigo occult titles, weird and wild manga, modern-day success stories like 30 Days of Night and Hack/Slash, or the mother of all zombie comics The Walking Dead? For my money, the most reliably disturbing and disquieting work in the genre over recent years has come from artists who produce what you’d consider to be “alternative comics.” These alt-horror cartoonists may not even think of themselves as horror-comics creators at all, eschewing as most of them do the rhythms and staples of conventional horror fiction. But by deploying altcomix’ usual emphasis on tone and emotional effect in service of dark and macabre imagery, their comics haunt me all the more.
So for my contribution to Robot 666’s daily horror-centric lists this week, I’m singing the praises of six talented alt-horror cartoonists. I could have listed quite a few more, mind you–some real giants of the field, including Gilbert Hernandez, Jaime Hernandez, Charles Burns, Jim Woodring, and Alan Moore & Eddie Campbell have done tremendous work in this area. But for me right now, these were the six who demanded the spotlight.