Axel-In-Charge: "Secret Wars" Jam Session Talking "A-Force," "Ultimate End" and More
The writing team of Brian Joines and Jay Faerber along with the artistic combo of Ilias Kyriazis and Charlie Kirchoff have created the Front Line, a quirky Canadian-based team with far more interesting personal lives than their heroic pursuits, as neatly laid out in the first issue of the Image Comics series, Secret Identities.
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 round, see what Van Jensen, Faith Erin Hicks, Thom Zahler, Andrew MacLean, Tyler Kirkham, Ian Harker, Ryan Ferrier, Jay Faerber, Matt Silady and Matthew Petz had to say.
And if you missed them, be sure to check out Part 1, Part 2 and Part 3, where we heard from Jimmy Palmiotti, Tim Seeley, Chris Roberson and many more. And we still have plenty to go, so check back Wednesday to hear from more creators!
Letting It Go (Drawn and Quarterly): When we last saw Miriam Katin, it was in the pages of her We Are On Our Own, her 2006 graphic memoir about how she and her mother survived the Holocaust, hiding out from the Nazis in the Hungarian countryside. Her new memoir continues that story, by skipping ahead to her current life as a middle-aged artist living in New York City and harboring the deep and bitter prejudices against a city, a country and a people that her childhood understandable instilled in her.
The subject matter is awfully heavy, but it’s presented quite lightly — this is a fun, funny comic about a grown woman coming to terms with the irrational prejudices and bias born of the irrational prejudice and biases of others.
When we meet the Miriam of Letting It Go, she and her husband are seemingly living an idyllic artistic life, he in a room playing his clarinet, she procrastinating starting to draw something. When her grown son says he wants to move to Berlin, she reacts negatively instinctively, and gradually comes to terms with it, visiting him in Berlin, and then returning a second time almost immediately in order to see some of her art hanging at a show there, learning the word vergangenheitsbewältigung (coming to terms with the past) and how to start doing it … if not how to pronounce it.
Katin’s graphic novel is border-less, the “panels” implied ones formed by the consecutive, often overlapping images, giving the artwork a winding, rhythmic flow that moves over the pages like water. That and the somewhat-sketchy nature of the art, in which you can see each and every line that goes into the drawings, gives the book an incredibly intimate feel, as if a reader has simply discovered Katin’s sketchbook, rather than something mass-produced.
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.
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 start with a couple of Marvel firsts, even though one of them isn’t technically a first issue: Uncanny Avengers #1 ($3.99) and Red She-Hulk #58 ($2.99). This is the first week of Marvel NOW, and they’re starting with books by creative teams I’m excited about. Next I’d get Stumptown V2 #2 ($3.99) and wind things up with the Halloween Eve one-shot. I actually supported the Kickstarter for the latter, so my copy is probably already on the way to my mailbox, but hypothetically let’s assume that it wasn’t. It’s by Brandon Montclare and Amy Reeder, two creators whose work I’ve enjoyed in the past. So if it wasn’t coming to me in the mail, it would come home in a paper bag from the comic shop.
If I had $30, I’d add an outgoing Marvel title (Marvel THEN?), Fantastic Four #611, which features the end of Hickman’s run before he moves on to Avengers and Matt Fraction takes over the first family of Marveldom. Next I’d grab Green Lantern Corps #13 ($2.99) as I like the direction the GL books have been headed in lately, and Conan #9 ($3.50), the second half of Brian Wood’s collaboration with Vasilis Lolos. Finally, I’d grab Point of Impact #1 ($2.99), the new crime book by Jay Faerber and Koray Kuranel.
This is a splurge in price only; if I had $50, then Chris Ware’s Building Stories would definitely have been at the top of my buy list this week. It’s a big box of little comics, as Chris put it, and as luck would have it I really do have $50 in gift certificates that I got for my birthday to buy it with. Thanks Mom and Dad!
One murder mystery revealed from three perspectives — in stark black and white. That’s the heart of Point of Impact, writer Jay Faerber‘s new Image four-issue collaboration with artist Koray Kuranel, which debuts Oct. 10. In anticipation of the launch, I cajoled Faerber into discussing this project as well as his appreciation of investigative reporters, a preference for giving his stories a strong sense of place, and how writing for television has affected his comics writing … among many other topics.
Tim O’Shea: In the opening pages of Point of Impact, readers lose a character fairly fast (Nicole Rafferty)–and yet in her absence the mystery of her death makes her a focal point of the book. How challenging is it to construct a story with a character who has a presence due to her forced and permanent absence.
Jay Faerber: It is a challenge, for sure. But I think a character’s absence can be a very effective way of defining that character. A big part of the inspiration of why I chose to tackle this particular story is because I wanted to explore how one person is viewed by the different people in his or her life. We all play different roles for each other, and I thought that would be an interesting way to approach a murder mystery.
Welcome to What Are You Reading?, our weekly look at what’s been on our nightstands lately. Our guest this week is Jay Faerber, writer of Dynamo 5, Near Death and Noble Causes. The second Near Death trade just came out this week, and his new comic, Point of Impact, comes out Oct. 10.
To see what Jay and the Robot 6 crew have been reading, click below.
Conventions | Thousands of fans were locked out of the Calgary Comic & Entertainment Expo after the local fire marshal declared that the building had reached capacity. The big draw was not actually comics but a reunion of the cast of Star Trek: The Next Generation. [Calgary Herald]
Awards | The Thrill Electric, an online comic created by Leah Moore and John Reppion, Emma Vieceli, Windflower Studio and LittleLoud for the U.K.’s Channel 4, has been nominated for best website in the 2012 Broadcast Digital Awards. [Broadcast]
Creators | Jay Faerber talks about his early ambitions, his current comic Near Death, and what is so special about being published by Image: “The thing about Image is you have absolute creative freedom. Once Near Death was approved, I just wrote it. There were no notes from Eric or anyone else at Image telling me what they think I should do, which is awesome. But it can also be a burden, because if a book sucks, I can’t say, ‘Well, if I had been able to do it my way…’ – because I did do it my way. So working at Image has made me become my own editor. The buck stops here, you know?” [Broken Frontier]
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 this week, I’d continue to support the DC relaunch by picking up Wonder Woman #1, Legion of Super-Heroes #1 and Green Lantern Corps #1 (All DC, $2.99). I’d also grab the first issue of IDW’s new ongoing Star Trek book ($3.99), which adapts episodes of the original TV show into the new movie continuity, because I’m nerdy like that.