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Current Aquaman artist Paul Pelletier has a long and varied history in comics, dating back to the late 1980s. When I learned Jeff Parker would replace Geoff Johns as the series’ writer (beginning with Aquaman #26), I was pleased that DC Comics chose to leave Pelletier on the title (as opposed to switching to a new art team, as frequently happens). I enjoy Pelletier’s take on Aquaman, and I was surprised to learn he’s not well-versed in some of the character’s earlier runs (so readers, please be sure to share your favorite runs in the comments section, since the artist asked “which runs would the Aqua-fans recommend?”). It was a unique opportunity, prior to the October 23 release of Aquaman #24, to chat with the veteran artist as he transitions from collaborating with one veteran writer to another. Plus, I enjoyed hearing about Pelletier’s appreciation of basketball legend Larry Bird.
Tim O’Shea: Once you realized Arthur would be sporting a beard again, did you draw a couple of versions of beards (goatee versus full beard) or did you and Geoff always have one look in mind when it came to Aquaman’s facial hair?
Paul Pelletier: When Geoff wrote Aquaman with the beard, it was a result of Arthur being unconscious for six months, so I figured it wouldn’t be too stylized. A full beard that wasn’t too manicured made sense to me. Now if the beard was to remain, then we might have to think about something a bit more tailored to Arthur.
DC Entertainment may not have planned it this way — “planning” being something with which DC may be only tangentially familiar — but I doubt its high-ups wanted to release these December solicitations the Monday after what had to be a pretty rough weekend. When you’ve just had to deal with a celebrated creative team walking off a fairly successful book — citing “editorial interference,” and reminding people that the character’s original writer also left after increasing frustration with DC — you might not want to follow that up by calling attention to all the other changes coming before the end of the year.
And don’t worry, there’ll be plenty of Batwoman and “sucky personal life” talk before we’re done. Solicits first, though …
If the first week of Villains Month is any indication, a good bit of the decimal-point issues will feature stories set in the early stages of the Crime Syndicate’s takeover. This wasn’t that apparent from the September solicits, and subsequent months also appeared light on explicit crossovers. December is about the same, with Teen Titans dropping out of the crossover lineup, and Pandora and Phantom Stranger joining the three Justice League books, the three Forever Evil [Colon] miniseries, and Suicide Squad.
Creators | Garry Trudeau is extending his hiatus from the daily Doonesbury strip until November, although new Sunday strips will begin running this weekend. “I have hit the wall,” Trudeau explained in a letter to newspapers that carry Doonesbury, saying that the demands of writing and producing Amazon Studios’ Alpha House are keeping him from returning to the daily strip on schedule. [The Daily Cartoonist]
Creators | Mary and Bryan Talbot discuss their work in a short video shot at the Edinburgh International Book Festival. [Forbidden Planet]
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.
Publishing | What begins as a profile of Australian publisher Gestalt Comics dovetails into a brief snapshot of the country’s comics industry — or, perhaps, “industry.” “There are publishers like Milk Shadow Books and Black House Comics, I think we all help to create the impression of there being an Australian industry,” says Gestalt co-founder Wolfgang Bylsma, “but I don’t think we’re established enough to call it an industry yet. There are very few people who are working full time in comics in Australia.” [artsHub]
Creators | Jamie Hewlett chats about art, influences, Gorillaz and whether he might considering returning to comics: “Would I go back to doing comics? I dunno, maybe. It’s a lot of work drawing a comic. [Laughs.] And, you know, I did 10 years of drawing comics, and I really enjoyed it, but I’m kind of keen to try other things that I haven’t done. But I was talking with Alan [Martin] about the possibility of doing something in a comic form together. We haven’t agreed upon anything yet. It’s just a conversation. I’d love to work with Alan again. I really like Alan; he’s really cool.” [Consequence of Sound]
Things got a little unmanageable with the Hulk comics for a while: We had two Hulks running around, each with his own series (plus Son of Hulk) and I started losing track of the She-Hulks when Jennifer Walters was joined not only by Red She-Hulk, but also Thundra She-Hulk. It was too much and I checked out, even though Jeff Parker was writing some of those comics — and Jeff Parker comics are among my favorites.
In a roundabout way, his writing is why you should be reading Red She-Hulk (not that the gorgeous art by Carlo Pagulayan, Wellington Alves and Val Staples should be ignored), but I’m going to get more specific than that. My point is that I wouldn’t blame you for rolling your eyes at Red She-Hulk’s having her own series when the real She-Hulk doesn’t (not outside of FF anyway). I don’t think Parker would either, though. From the way Red She-Hulk is presented in the early issues of the series, it appears that Parker knows he has some work to do in making her a character that readers want to spend time with.
This is something that Red She-Hulk shares with Geoff Johns’ Aquaman, but Johns went meta with his story and all but included cameos of himself looking directly at the reader and screaming, “Aquaman doesn’t suck!” Parker uses more art. Specifically, he uses Machine Man, aka the Reason You Should Be Reading Red She-Hulk. Stay with me here, because I know Machine Man’s not usually much more of a draw than Red She-Hulk is.
DC Comics will expand its digital-first comics line this summer with the debut of Batman ’66, a series based on the classic television series.
The announcement came last night in Hollywood, where Warner Bros. Consumer Products launched its Batman Classic Television Series licensing program during an event co-hosted by Junk Food Clothing and Meltdown Comics.
Inspired by the television series, which aired from 1966 to 1968 on ABC, Batman ’66 is written by Jeff Parker and illustrated by Jonathan Case. In an ironic turn, Michael Allred, whose Adam West/Batusi cover (below) couldn’t be used for DC’s Solo because of legal issues, will be providing the cover for the first issue. Like the DC’s other digital-first comics, Batman ’66 will be collected monthly in print.
Conventions | Nearly 10,000 people flocked to the Lexington (Kentucky) Comic and Toy Convention over the weekend, far exceeding expectations. [Kentucky.com]
Piracy | This is about movies and music more than comics, but it’s an interesting perspective: Thorin Klosowski explains why he gave up on illegal downloads. The short answer: It’s now easier to stay legit. [Lifehacker]
Commentary | Julian Darius takes a hard look at last week’s removal of Persepolis from Chicago classrooms and what that says about our society’s attitude toward torture. [Sequart]
Awards | Dave Brown received the Cartoonist of the Year award at the Society of Editors’ UK Press Awards. [The Independent]
Hello and welcome to What Are You Reading?, our weekly look at all the comics and other stuff we’ve been reading lately. Our special guests today are Brendan Tobin and Pedro Delgado, who run the March MODOK Madness site. And with this being March, the madness is in full swing, so head over there to check out a lot of fun art featuring everyone’s favorite big-headed villain.
To see what Brendan, Pedro and the Robot 6 crew have been reading, click below.
Manga | The widow of Barefoot Gen creator Keiji Nakazawa, has found 16 pages of penciled notes and sketches for a possible sequel to Nakazawa’s semi-autobiographical account of living through the Hiroshima bombing and its aftermath. Before he died in December, Nakazawa donated the first 16 pages of the projected volume to the Hiroshima Peace Memorial Museum; this is the outline for the second set of pages. The new story would have taken Gen to Tokyo to become a manga creator, just as Nakazawa did in real life. [Anime News Network]
Comics | Glen Weldon, who writes about comics for National Public Radio, explains why he, as a gay man, won’t be reading Orson Scott Card’s issues of Adventures of Superman: “DC Comics has handed the keys to the ‘Champion of the Oppressed’ to a guy who has dedicated himself to oppress me, and my partner, and millions of people like us. It represents a fundamental misread of who the character is, and what he means. It is dispiriting. It is wearying. It is also, finally, not for me.” [NPR]
Welcome to What Are You Reading?, where the Robot 6 crew shares their picks for who we think should play a young Han Solo. Of course, we unanimously chose Nathan Fillion, so instead we’ll talk about what comics we’ve been reading. Joining us today is special guest Tim Lattie, the creator of Night Stars. Tim is currently running a Kickstarter to raise funds to publish it, so head over there and check it out.
To see what Tim and the Robot 6 crew have been reading, click below.
Hello and welcome to What Are You Reading?, where the Robot 6 crew shares their picks for the Royal Rumble … I mean, talks about what comics we’ve read recently. Today our special guest is Landry Walker, writer of Danger Club, Supergirl: Cosmic Adventures in the Eighth Grade, Batman: The Brave and the Bold, Little Gloomy, Tron and more.
To smell what Landry and the Robot 6 crew are cookin’, click below.
Hello and welcome to What Are You Reading? Today our special guest is Chris Wisnia, creator of the Doris Danger books.
To see what Chris and the Robot 6 crew have been reading, click below.
Dec. 12, marks a new era and a new team dynamics for writer Jeff Parker‘s Dark Avengers as Issue 184 goes on sale. But before the new storyline begins, I convinced Parker to reflect on his Thunderbolts/Dark Avengers run, which started in November 2009 (Thunderbolts #138) as well as discussing what lies ahead with the series. It was interesting to learn his thought process when collaborating with past series artists like Kev Walker and Declan Shalvey, as well as what current artist Neil Edwards motivates Parker to tackle. This interview was a fun romp for me, full of surprises — none more than the first: that Parker nearly passed on writing the series.
Once you finish the interview, please chime in if you agree that Parker should get a chance to write a Man-Thing series for Marvel. And if you missed CBR’s Dave Richards’ interview with Parker regarding Red She-Hulk, be sure to read it to learn about more great Parker storytelling.
Tim O’Shea: You started writing Thunderbolts/Dark Avengers in November 2009. Could you have envisioned it would be a book you would still be writing a solid three years later?
Jeff Parker: No, I almost passed on it. When Bill Rosemann asked me if I’d be interested in coming on after Andy Diggle. I’d never read much of the title, and he described that they wanted to base it around The Raft superprison. And I was wary. “It’s all set in prison? They never go anywhere?” But Bill and Tom Brevoort assured me that they’d be able to go on missions, it just needed to have prison as a big backdrop; that’s what had been discussed at one of the Marvel summits. Bill had asked me because I’d just worked on The Hood sequel miniseries with him and Kyle Hotz and he thought I’d be good for continuing with a villain book.
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. I’m filling in this week for Michael May, who is off in Florida spending his splurge money on mouse ears and giant turkey legs.
If I had $15, I’d start of the week with Brian K. Vaughn and Fiona Staples’ Saga #7 (Image, $2.99). Saga has become a real bright spot in comics for me being sci-fi without being “sci-fi,” being romance without being “romance,” and being great at being great. It gives me the same excitement the way Bone, Strangers In Paradise and A Distant Soil did back in the early 90s. Next up would be Punk Rock Jesus #5 (DC/Vertigo, $2.99) by Sean Murphy. Murphy’s really exceeded my expectations here, creating a nuanced and elaborate world that has great art as a bonus. You can really tell Murphy’s been thinking about this story for awhile now. After that I’d get Invincible #97 (Image, $2.99), to finally get the truth behind the new Invincible, Zandale. I’ve been enticed by what’s been teased so far, and I hope the inevitable return of Mark Grayson doesn’t prevent me from seeing more of Zandale in the future. Last up with my $15 budget would be my call for the best superhero book on the stands today, Wolverine & The X-Men #20 (Marvel, $3.99). I feel like the title isn’t getting the attention it deserves with Marvel NOW! upon us, but Jason Aaron and Nick Bradshaw are absolutely delivering it here.
If I had $30, I’d double back and double up on Brian Wood with Conan The Barbarian #10 (Dark Horse, $3.50) and The Massive #6 (Dark Horse, $3.50). The Massive has survived the monumental loss of artist Kristian Donaldson, forging on in Wood’s story of one ship trying to survive in an ecological destitute Earth. Over at Conan The Barbarian, Declan Shalvey looks to be bringing the goods and showing he’s more than a Marvel superhero artist. After that I’d get the second series debut of Where Is Jake Ellis? (Image, $3.50) by Nathan Edmondson and Tonci Zonjic. This is a mighty pairing, and seeing them peel back the layers on Jake Ellis has been fun.