Axel-In-Charge: Extending "Secret Wars," Excitement for a "Totally Awesome Hulk"
Batman: The Jiro Kuwata Batmanga Vol. 1 (DC Comics): It was so long ago at this point that it might as well have been the 1950s, as fast as Internet time moves, but I seem to recall Chip Kidd and company’s 2008 book Bat-Manga!: The Secret History of Batman in Japan getting some static for its treatment of Jiro Kuwata’s Batman manga. Kuwata’s contribution was by far the most fascinating aspect of the book — and took up the bulk of the page count — but many thought he didn’t get the credit he deserved (his name didn’t appear on the cover alongside Kidd’s and those of two others), while others felt weird about comics work being presented alongside photos of goofy Batman toys, as if it were just one more example of collectible kitsch.
Kuwata’s contributions certainly proved to be the most influential element of the book, however, inspiring an almost beat-for-beat adaptation in the Batman: The Brave and the Bold cartoon and inspiring writer Grant Morrison’s scripts for his critically-acclaimed Batman, Inc series. Now DC is giving Kuwata’s Bat-Manga its due, packaged in a distraction-free all-manga format.
They’ve been serializing the comics, created in 1966 and ’67 during the height of “Batmania,” digitally, and are following up with hard-copy collections, the first of which is this hefty, 360-page brick.
Unlike Kia Asamiya’s 2003 Batman: Child of Dreams, in which that eminent manga artist told a regular American Batman story in his style, Kuwata’s Batman feature is a highly-strange, almost heady parallel take on Batman. The most basic elements of the story are there — millionaire Bruce Wayne and his young ward become Batman and Robin to fight crime in Gotham City, using the Batmobile, batarangs and other gadgets — but everything around the Dynamic Duo seems somewhat alien.
Among the bigger announcements to come out of Comic-Con International was that Marvel will resume publishing Star Wars comics after a nearly 30 years, 23 years of which the license called Dark Horse home. We’ve known it was happening for a while, of course, but this was the official unveiling of titles and creative teams.
Completely unaffected by all of this is one particular pocket of Star Wars comics, those made by cartoonist Jeffrey Brown, who’s found a great deal of success in marrying his particular wit and style with the pop-culture icons of the franchise. That’s good news for comics and/or Star Wars fans who prefer their take on that universe to be ironic and funny, and, of course, for little kids.
This month, the latest installments of Brown’s two ongoing Star Wars-related projects dropped, one from Chronicle Books, the other from Scholastic.
Brown’s professional, published relationship with Star Wars began with 2012’s Darth Vader and Son, a series of full-color cartoons based on the premise that Luke knew who his real father was at a very young age, and Vader was attempting to raise his innately heroic child as a single parent while balancing his home life with a rather demanding day job: that of a Sith Lord helping the Emperor rule the galaxy with an iron fist. That was quickly followed by Vader’s Little Princess, a collection of cartoons with the same premise, only substituting Leia for Luke.
Editorial cartoons | The public-relations consultant hired by the city of Murrieta, California, after residents protested the arrival of refugee children to be processed there, told cartoonist Lalo Alcaraz that referring to Murietta as “Hate City USA” was “actionable.” “There IS a fine line between your constitutional right to draw cartoons and expressed (sic) your opinions,” Hermosillo wrote in a comment on Alcaraz’s Facebook page, “and falsely, deliberately, and maliciously labeling and attacking an entire community as racist or as ‘Hate City.’ You are working overtime to damage Murrieta and such a false premise is actionable. There’s a fine line between humor and stupidity. You may have crossed that line at your own peril.” Murrieta spokesperson Kim Davidson walked that back, however, saying the city has no plans to sue Alcaraz. [The Press Enterprise]
Jeffrey Brown, whose Goodnight Darth Vader arrives next month, returns to the world of the Incredible Change-Bots in September with a 224-page collection that promises rare “odds, ends and missing parts” from his celebrated send-up of the shape-changing robot genre.
According to Top Shelf Productions, Incredible Change-Bots Two Point Something Something collects both previously published and rarely seen material, including short stories, gallery show pieces, toy and game designs, and interviews with nearly every Change-Bot.
Brown introduced the Incredible Change-Bots in a 2007 graphic novel that follows the Awesomebots and the Fantasticons as they move their war from Electronocybercircuitron to Earth. It was followed in 2011 by a sequel, in which Fantasticon leader Shootertron, left behind when the rest of the Change-Bots returned to their homeworld, struggles to find an identity on Earth.
Incredible Change-Bots Two Point Something Something can be preordered now for $19.95. Top Shelf is also offering an exclusive limited-edition hardcover for $24.95.
Following the massively successful Darth Vader and Son and Darth Vader’s Little Princess, cartoonist Jeffrey Brown will return to the Star Wars universe in July with a new book titled Goodnight Darth Vader. To promote its release, Brown shared this wonderful trailer, featuring — you guessed it — various Star Wars characters catching some shuteye everywhere from Dagobah to the Cloud City. The young Luke and Leia, though, have other things in mind while dad sleeps.
Check out the trailer below. The book arrives July 22.
Batman/Superman, Vol. 1: Cross World (DC Comics): The greatest virtue of the Greg Pak-written World’s Finest team-up title is also its main drawback: There’s really great, flat-out gorgeous artwork by Jae Lee … except when their isn’t. Lee draws the lion’s share of the book — about 70 of its 100-plus story pages — and it’s some of the artist’s best comics work; his heroic figures pose through a series of complex layouts, their anatomy and features those of real, if exceptionally beautiful, people, rather than musclebound action figures. The too-busy New 52 costume designs are stripped down to their essentials, the various bits of technology all look like mobile art installations, and Lee’s vision of a Gotham City park is appropriately, if amusingly, dark, twisted and exaggerated.
He might not have been the best possible choice for this particular storyline, which involves two different Batmen, Supermen and Catwomen, given his use of silhouettes and sparse panels, and the cacophony of color-coded narration boxes have to do a little more work than they might otherwise. But it’s jarring to the point of shocking when fill-in artists appear to help Lee, with Ben Oliver-drawn climaxes for the first and last issues/chapters, and an extensive Yildiray Cinar flashback in another issue. There’s also a rather tacked-on origin story of Darkseid and the main villain for the story arc, which appeared in September’s Justice League #23.1, drawn by two more artists.
While the creator has been focused on the Star Wars universe lately — and in fact has a new Star Wars-themed book featuring more adventures of Daddy Darth Vader and little Luke and Leia coming soon — Kids Are Weird returns Brown to his home planet and his observations about his own kid.
Chronicle Books has teamed with Gentle Giant Ltd. to bring to life Jeffrey Brown’s Darth Vader and Son and Darth Vader’s Little Princess as a pair of limited-edition maquettes based on the cartoonist’s work.
Released in 2012, the bestselling Darth Vader and Son reimagines the Dark Lord of the Sith as an involved father, raising a 4-year-old Luke Skywalker, while its 2013 follow-up Darth Vader’s Little Princess chronicles the trials of shepherding Leia as she grows a sweet ltitle girl to a rebellious teenager.
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 Kurt Busiek, Corinna Bechko, Jeffrey Brown, Andrea Sorrentino, Jon Proctor, Steve Lieber, Ales Kot, Dennis Culver, Victor Santos and Declan Shalvey had to say.
And if you missed them, be sure to check out Part 1, Part 2, Part 3 and Part 4, where we heard from Jimmy Palmiotti, Tim Seeley, Chris Roberson, Faith Erin Hicks and many more. And we still have plenty to go, so check back Thursday to hear from more creators!
Digital comics | Jason Snell uses Comic-Con International as an opportunity to take a snapshot of digital comics in “an era of experimentation,” and hones in on Madefire, the convention’s embrace of technology, comiXology and the growing popularity of the digital-first model. “Digital has made us rethink how we fulfill books into the [print] retail market,” Chris Ross, Top Shelf’s director of digital publishing, said during a panel. [TechHive]
Legal | The Attorney-Generals Chambers of Singapore has charged cartoonist Leslie Chew (the pen name of Chew Peng Ee) with contempt of court because of four cartoons posted on his Facebook page Demon-cratic Singapore. A hearing on the charges, which could result in jail time and fines, will be held on Aug. 12. Chew’s attorney M. Ravi said in a phone interview, “Our judiciary is not like fragile flowers to be offended easily by such criticism. We have full faith in the impartiality and independence of our judiciary.” [Bloomberg News]
Jeffrey Brown may have had some fans wondering whether he would be returning to autobiographical comics following his success co-writing the 2012 film Save the Date. But June saw Brown refer to the autobiographical realm with A Matter of Life, a Top Shelf-published examination of three Brown generations: his father, himself and his preschool-age son Oscar. To mark the release of his new book, took some time out to speak with ROBOT 6. Top Shelf is offering a nine-page preview to whet readers’ appetites, so please make sure to check it out after reading the interview.
I particularly enjoyed learning how his autobiographical work is less about catharsis and more about gaining some perspective on the events in his life.
Tim O’Shea: Your wife Jennifer was well aware of the autobiographical nature of much of your work, so she knew going into your marriage that her life would be at least a partially open book that you would share with people. But did she express any concern about featuring your son in your work?
Jeffrey Brown: I think she’s learned to trust my judgement, for the most part. When we first started dating she told me it was on the condition that I didn’t write anything about us. Then she said I could write about us as long as it wasn’t anything personal or about her relationship. Eventually she said I could go ahead and write whatever. With our son she talked to me about being more careful, and I have been, but I think in general I’ve become much more careful about what I’m writing in my autobiographical comics anyway.
Hello and welcome to What Are You Reading?, where we take a look at the comics, books and other things the Robot 6 crew have been reading lately. We kick off the new year with Brian Cronin from Comics Should Be Good! as our special guest. In addition to running our sister blog, Brian is also an author, having written two books on comics trivia. He also runs the blog Urban Legends Revealed, where he talks about sports and entertainment urban legends.
To see what Brian and the Robot 6 crew have been reading, click below …
It’s not every month that we get to discuss a new issue of Ethan Rilly‘s Pope Hats, but here we are. This month, AdHouse is releasing Pope Hats 3 and giving readers a chance to enjoy the latest in the unique lives of law clerk Frances Scarland and her pal Vickie (among many other distinctively engaging characters).
In an interview with Robot 6, the Toronto-born/Montreal-based storyteller talks about his view on creating covers, the impact of winning a 2008 Xeric Grant, and his inclusion of the late, great Spalding Gray in his latest issue. As much as I enjoyed reading Issue 3, as a longtime fan of Gray’s writing, I was apoplectic when I found Rilly had worked him into a strip in the latest Pope Hats installment.
Tim O’Shea: First off, a little historical perspective. Last year the Xeric Grants came to an end for comics. You won a Xeric Grant back in 2008. How instrumental was the grant to getting Pope Hats off the ground?
Ethan Rilly: It seems like 10 years ago … Of course it was a great help. It covered printing and shipping costs for the first issue. I can’t say at that point I knew exactly what I wanted to do with the series as a whole, but the seeds were there, and the grant definitely helped get the ball rolling. It’s rare as a cartoonist to receive any financial support for this type of personal work, so I was fortunate. I sometimes do freelance illustration and I get a taste of things going in the other direction—bending your creative energies toward a pre-established need. Doing your own weird exploratory thing is always best.
Passings | Cartoonist and animator Bill White has died at the age of 51. According to his Lambiek page, White studied animation at the Kubert School and was a penciler and inker for a number of publishers, including DC Comics, Marvel, Archie, Disney and Harvey. His animation work included stints on Ren and Stimpy and Inspector Gadget. Infinite Hollywood has a nice remembrance. [The Daily Cartoonist]
Comics | Jim Beard looks at the apparent contradiction between the mass popularity of superhero movies and the relatively limited audience for the comics that spawned them; Mark Waid attributes this to a lack of comics shops, while Ethan Van Sciver thinks that most people simply have a hard time reading comics. Two local retailers weigh in as well, making this an interesting and well-rounded overview of the problem. [Toledo Free Press]
If you’re a Cyclops fan and still smarting from the end of Avengers vs. X-Men, WeLoveFine.com has a constructive way to express your anger–at least more constructive than, say, unleashing a Sentinel or something. They received a ton of requests for a “Cyclops was Right” shirt (a la their “Magneto was Right” shirt) and were able to turn one around fairly quickly.