Mondo, the Alamo Drafthouse’s collectible art boutique, is celebrating EC Comics and Tales From the Crypt for Halloween with a gallery show featuring work by more than 30 artists honoring the television anthology and the horror titles on which it was based.
“I care about EC Comics very much. Even though I wasn’t around when it was originally published, the HBO Tales From the Crypt was an amazing intro into a demented world of darkly comedic horror stories and vivid artwork,” Mondo CEO Justin Ishmael said in a press release. “EC Comics’ editor Bill Gaines is one of my heroes and it’s so incredibly exciting to combine his creations with 30-something artists that are also fans of that era.”
The show, which will run from Oct. 25 through Nov. 23 at the Mondo Gallery in Austin, Texas, will original art and screen prints by the likes of Warwick Johnson Cadwell, Francesco Francavilla, Jeff Lemire, Chris Mooneyham, Ed Piskor, Jim Rugg and Eric Skillman. You can see more names on the postcard below.
The Devastator #8: “Crossovers”
By Various Writers and Artists
Edited by Geoffrey Golden and Amanda Meadows
People love crossovers. That’s not news, but I’ve never stopped and wondered why that is. What exactly is so cool about someone from Universe X running into someone from Universe Y? Or even people from different corners of the same universe meeting each other? And why do some crossovers work really well when others are so disappointing? The most recent issue of the humor anthology The Devastator explores crossovers in a way that’s of course funny, but also helps me understand what makes a great one, and why.
Devastator #8 features comics and pin-ups by a lot of great artists, as well as short stories, essays, infographics and epic poetry. On one level, it’s fun simply to read through and giggle at Box Brown’s Punisher/New Yorker mash-up or spot the references in Jim Rugg’s cover. But the more I read, the more I realized that The Devastator was scratching a crossover itch in a way that’s more satisfying than most of the actual crossovers it’s parodying.
Boutique home video distributor Criterion commissioned Samuel Hiti (Los Tiempos Finales, Death-Day) and a list of other great comics artists to create artwork for the individual films in the company’s box set for the long-running Zatoichi series starring Shintaro Katsu as a blind, but incredibly quick and accurate swordsman. Hiti designed the cover for Zatoichi the Fugitive, the fourth in the series.
Twenty-five Zatoichi films were produced between 1962 and 1973, making it the longest-running action series in Japanese history. There was also a four-season TV series in the late ’70s. The Criterion box set collects those first 25 feature films in one package for the first time, but doesn’t include 1989′s Zatoichi the Blind Swordsman, written and directed by Shintaro Katsu himself.
Inspired by R. Sikoryak and Art Spiegleman’s Narrative Corpse, The Unsinkable Walker Bean creator Aaron Renier started The Infinite Corpse, a “chain” webcomic in which various creators tell the story of a skeleton’s crazy adventures by building off the three panels of the cartoonist who preceded them. The chains aren’t exactly linear, with the final website being more of a “choose your own adventure” story with branches going off in different directions.
“Each additional artist became a branch off of the original group … until it just became a fog of story lines a gigantic 205 artists were included when the website went live,” Renier explained on his blog. “And now, only a few months later we have over a hundred new artists sending in art. It’s open to submissions, just like the dry erase comic. It’s open to everyone who wants to do it. And open to all of those who already have gone before.”
Design is integral to comics. In its basic form, it’s used by artists to tell story through panel composition and transitions, but in broader terms it’s the logos, trade dress and visual platform by which comics are shown to the public.
Last month at HeroesCon in Charlotte, North Carolina, cartoonist/designer Rich Barrett moderated a panel that looked at the approach and examples of graphic design in use in the medium. With a panel that included cartoonist/designers like Jim Rugg, Matt Kindt and Robert Wilson IV, publisher/designer Chris Pitzer of AdHouse Books and non-comics desginer Matt Stevens, Barrett shepherded the room through slideshow series of impressive design, from page layouts to book covers to book packaging.
The indie-centric design group talked about the use of design by mainstream creators like Jonathan Hickman, Chris Ware and Chester Brown, and its changing role of design as the methods by which comics being sold have changed over the past 20 years.
Although no recording of the panel exists (as of yet), Barrett has shared his slideshow presentation here:
Jim Rugg is an interesting and fun guy to talk to. The Pittsburgh-based cartoonists, whose resume includes such diverse genre work as Street Angel, Adventure Time and the Plain Jane series for DC’s late Minx imprint, is someone who has clearly studied comics -– and certain comic artists specifically -– very closely, and has a genuine fascination and curiosity for what makes the medium work and what doesn’t. If you want to talk comics, he’s the guy to corner at the bar after the convention (be polite and introduce yourself first though, please).
Rugg has a new comic out, a magazine-formatted, one-man anthology of sorts from AdHouse titled Supermag, which features a number of short stories done over the past few years as well some illustrations and other new material. It’s a pretty nifty package.
I chatted with Rugg over email about Supermag, his frequent collaborations with writer Brian Maruca and the podcast he hosts over at Boing Boing, Tell Me Something I Don’t Know. I look forward to the opportunity when I get to talk to him about comics some more.
How did the idea for Supermag come about and how did the initial concept change (if at all) as you started to put it together?
Supermag began as an early- to mid-90s period comic. My plan was to create an Afrodisiac comic using the processes, materials, storytelling vernacular, and style of that era – a comparison would be something like 1963. As we worked on that idea, I struggled to make all the elements work the way I wanted. As I continued to work on it, it morphed into a magazine/comic/art project.
These Jim Rugg-drawn variant covers for IDW Publishing’s G.I. Joe Special Missions comic aren’t exactly new, and in fact some of them have already been released into the wild, but I thought they were worth sharing because a) they’re awesome, b) I haven’t seen them before, at least not all together, so maybe you haven’t either, and c) seeing them as group shows Rugg has a theme going with them.
Some people wear their influences on their sleeve, while others absorb it into their own style and, from time to time, shout it from the rooftops.
Jim Rugg is doing the latter in a stunning pin-up he created for the recent Extreme Comics fanzine Rub The Blood. Extreme is the brainchild of Rob Liefeld, whose divisive style earned him legions of fans, including it seems Rugg.
Rugg’s choices for which characters to display from Liefeld’s ouvre runs the gamut from his Marvel co-creation Cable to his creator-owned work like Youngblood‘s Chapel (done in a style reminiscent of Jae Lee’s take on the character) and solo stars Prophet, Bloodstrike: Assassin and Bloodwulf.
Hello and welcome to What Are You Reading?, our weekly look at all the comics and other stuff we’ve been checking out lately. Today our special guest is Chris Sims, senior writer for ComicsAlliance, blogger at Chris’s Invincible Super Blog and writer of comics like Dracula the Unconquered and Awesome Hospital.
To see what Chris and the Robot 6 crew have been reading, click below.
Awards | The 2013 Lynd Ward Prize for Graphic Novel of the Year, presented by Penn State University Libraries and the Pennsylvania Center for the Book, has been awarded to Chris Ware’s Building Stories. The jury’s comment: “Ware’s astute and precise renderings, composed with a tender yet unblinking clinical eye and fleshed out with pristine and evocative coloring, trace the mundane routines and moments of small crisis that his characters inhabit. In so doing, he produces not a document but a monument, a work whose narrative logic is architectural rather than chronological: a set of lives to be encountered, traversed, and returned to as the rooms and floors of a building might be over the years, still sequentially but not in a limited or decided-upon sequence. Stories, here, are meant not to be told but to be built, explored, inhabited—not merely visited but lived in.” [Pennsylvania Center for the Book]
Publishing | Todd Allen analyzes the sales of DC Comics’ New 52 titles from their September 2011 launch to the past month. Sales of any series tend to drop off from one issue to the next — Allen compares it to radioactive decay — and when the numbers drop below 18,000 for a couple of titles, DC tends to cancel them in batches and start up new titles to replace them. That plus crossovers and strong sales of some flagship titles has kept the line fairly stable until recently, but as Allen notes, the replacement titles tend to crash and burn pretty quickly, and overall sales have dipped a bit. [Publishers Weekly]
History | David Brothers has a great column for Black History Month, featuring Krazy Kat, All-Negro Comics and other titles by black creators. [Comics Alliance]
Business | In a surprise announcement, Kevin Tsujihara was announced Monday to succeed Barry Meyer as CEO of Warner Bros. Entertainment, the parent company of DC Entertainment. The 48-year-old Tsujihara, who has been with Warner Bros. since 1994, was named in 2005 as president of the Home Entertainment Group, overseeing the company’s home video, digital distribution, video games, anti-piracy and emerging technology operations. He was chosen as CEO over Bruce Rosenbaum, president of Warner Bros. Television, and Jeff Robinov, president of Warner Bros. Pictures (under which DC Entertainment is placed in the corporate structure). [The Hollywood Reporter]
Creators | Gene Luen Yang, creator of American Born Chinese, has revealed his latest project Boxers and Saints, a set of two graphic novels about the Boxer Rebellion in China; one story is about a peasant who joins the Boxers, while the other is about a woman who converts to Catholicism. First Second will publish them as a slipcased set. There’s a 10-page preview as well as an interview at the link. [Wired]
Comics | Jim Rugg notices that his print copy of Hellboy in Hell doesn’t look as good as his friend’s digital copy, and where most of us would have just shrugged and moved on, he takes the time to think about why that is and how careful publishers can ensure that print comics look their best. [Jim Rugg]
It’s become an annual tradition here during our birthday bash: No matter how much stuff we line up, people we interview, etc., there are still tons of folks we like to hear from and include in our giant New Year’s/anniversary/birthday activities. So, as we’ve done in past years, we asked a cross-section of comics folks what they liked in 2012 and what they’re excited about for 2013. We received so many this year that we’ve broken it down into two posts; watch for another one Tuesday.
But for now, check out all the great stuff people shared with us, including hints at new projects and even some outright announcements. Our thanks to everyone this year who responded. Also, thanks to Tim O’Shea, Michael May and Chris Arrant, who helped collect responses.
JIMMIE ROBINSON (Bomb Queen, Five Weapons)
What was your favorite comic of 2012?
Image’s Saga, Fatale, Hawkeye‘s reinvention is fresh and exciting, Peter Panzerfaust, Enormous by Tim Daniel. It’s hard to pin down just one because there is SO much good work coming out nowadays — from many publishers across the board.
Jim Rugg has a fascinating post on his blog spelling out how he made his latest zine, a collection of old comics ads. It starts with an idea and runs through every part of the creation process, including such nuts-and-bolts matters as getting paper and refurbished printer cartridges to cut down the cost. Rugg and collaborator Jason Lex started by pulling out the old comics and picking the best of the ads, then put them together into a PDF.
There were lots of things to consider, including matching the type of paper in the zine to the originals the ads were printed on, and I like it that Rugg came up with the idea for some nice finishing touches during a long-distance run. The post ends with a little something extra — a vintage ad followed by John Porcellino’s comic based on it. It’s a really nice how-I-did-it post with some useful information for would-be self-publishers, and plenty of visual goodies for the rest of us.