Ahead of this morning’s release of April solicitations, Marvel has announced that Eisner Award-winning artist Francesco Francavilla will join writer Matt Fraction for two issues of Hawkeye.
Francavilla, who previously worked for Marvel on Black Panther and Captain America and Bucky, will draw Hawkeye #10, which begins a new story — “the perfect jumping-on point for new readers,” the publisher states — as Clint Barton faces his deadliest foe yet: “Who pulled the trigger? Where have you seen him before? The answers will send everyone’s favorite archer reeling …” Francavilla will skip Issue 11, and then be back for Issue 12.
“On Hawkeye we’ve been blessed with not only one of the biggest writers in comics with Matt Fraction, but also some of the best artists like David Aja, Javier Pulido and now Francesco Francavilla,” Senior Editor Stephen Wacker said in a statement. “Though he’s only on the series for issues #10 and #12, Francesco is going to leave his mark on Clint with some of the most beautiful art you’ll see all year!”
Francavilla’s “super-noir” series The Black Beetle: No Way Out debuted this week from Dark Horse.
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 …
Marvel is nothing if not nimble, changing up the schedule and creative lineup of Hawkeye to allow writer Matt Fraction to address the impact of Hurricane Sandy on New York and New Jersey in Issue 7, with the help of guest artists Steve Lieber and Jesse Hamm. What’s more, Fraction announced he’ll donate his royalties from the issue to the Red Cross’ Hurricane Sandy relief efforts.
Hawkeye #7 will be split into two stories, with Lieber illustrating Clint Barton’s efforts to help a friend evacuate his father from Far Rockaway, Queens, and Hamm drawing Kate Bishop’s struggle in Atlantic City as the five-star hotel in which she’s attending a social function begins to flood. Series artist David Aja will return with Issue 8.
“I doubt I could tell this story if I was still writing Thor or Iron Man, but this is what Hawkeye ended up being about,” Fraction told Comic Book Resources in early December. “He’s the superhero that doesn’t matter; all that matters is that he’s a superhero.”
Marvel has provided ROBOT 6 with an exclusive color preview of Hawkeye #7, which goes on sale Jan. 30:
Rough around the edges but as precise as a Swiss clock. It’s an apt description for the Marvel character Hawkeye, and also the work of series artist David Aja.
Born and raised in Valladolid, Spain, the same town Don Quixote author Miguel de Cervantes called home, Aja earned a college degree in illustration as was on his way to a career in magazine illustration before he followed his childhood ambition: comics. After a prosaic debut in the Marvel anthology X-Men Unlimited, Aja grew by leaps and bounds before becoming the signature artist of the cult-hit series The Immortal Iron Fist with writers Ed Brubaker and Matt Fraction. After the conclusion of his run, Aja did a series of one-off stories for titles like Secret Avengers, Daredevil and Wolverine: Debt of Death while he and his wife added two children to their home already filled with animals. This year, Aja and Fraction reunited for another series, this time taking on classic Avenger (and newly minted movie star) Hawkeye in a self-titled series that focuses on the archer’s life when he’s not working as one of Earth’s Mightiest Heroes.
After last week’s stupendous one-off story in Hawkeye #6, Aja seems on top of his game. And what better time to get inside his head and find out what he thinks about comics and his place in it. In our conversation, we go over his time on The Immortal Iron Fist and Hawkeye, his views on original art, and also his idea of creative teams and what his formula is for making a great comic.
Not only do Kelly Sue DeConnick and Matt Fraction have the best wedding-band engravings in the world (hers says, “Bring it.” His: “It’s on”), they also apparently write cute notes to each other in their comics. So: cool and adorable.
It’s Thursday afternoon as you’re reading this, but it’s still Wednesday night as I write it. Usually on Wednesdays, I work at my day job until 5 p.m., and then, after I shout “Yabba-dabba-doo!” and slide down the tail of my sauropod/steam shovel, I hop into my car and drive to my local comic shop and pick up a small stack of comic books. Then I return to my apartment and read them, and then I write brief reviews of them all for a weekly feature I post on my home blog and then I write my weekly post for Robot 6.
Wednesdays are, generally speaking, pretty busy days for me. This one’s even busier than usual, as in addition to the above, I have a few extra writing assignments I need to finish before the end of the week and I still have two homemade Christmas presents for loved ones I need to finish putting together.
So then I had a brilliant idea! Well, an idea. Maybe instead of writing two blog posts tonight, one for Every Day Is Like Wednesday and one for Robot 6, I would just write my usual Wednesday-night blog post and put it here instead of there, thus killing two birds with one stone, as the saying, which was popularized back when people still killed birds with stones, goes.
Here then, are a few paragraphs about each of the new comic books I bought and read this Wednesday (now if only I could give blog posts as a Christmas gifts to my family members, the rest of this week would be pretty chill):
Hello and welcome to another edition of What Are You Reading?, where each week we talk about comics and other stuff we’ve been checking out lately. Today we welcome special guest Joshua Williamson, writer of Masks and Mobsters, Captain Midnight (which has been running in Dark Horse Presents), Uncharted, Voodoo and much more.
To see what Joshua and the Robot 6 crew have been reading, click below …
How much, exactly, is too much of a good thing? I imagine it depends on the thing in question, and the person you ask. Let’s say the thing is Marvel’s newish Hawkeye. And the person is me.
I really like this comic, which is something that came as a great surprise to me, as I don’t really have any feelings about Hawkeye beyond, perhaps, preferring the super-archer with the facial hair and the green costume. And I don’t really like reading Marvel comics serially any more, given how hard the publisher strives to make that experience an unpleasant one, with the ads and the variants and the cover prices and the AR phone applications and the random switching and the renumbering and title changing and the funny numbering schemes (“Superior Spider-Man #6AU“…?) and the irregular shipping schedules.
I bought the first issue on a whim, though (it was a light week), and despite a little confusion as to why artist David Aja was to aping ’80s-era David Mazzucchelli, it impressed the hell out of me. Writer Matt Fraction and Aja make a great team, and the idea of focusing on what Hawkeye does “when he’s not being an Avenger” — recasting the movie star/cartoon character/toy as a more-or-less everyman action hero — is interesting, as was the decision to make every issue a done-in-one complete story (for the first three issues, anyway).
Each story has had elaborately constructed plots that spring open, move fluidly and then snap satisfyingly shut, the script and art are paced to encourage a slower, more appreciative reading process that makes each issue seem twice as long as most other Marvel comics, and even Matt Hollingsworth’s old-school but understated color and generous use of purple (to compensate for the lack of costume) has been impressive.
I started to worry when Issue 4 shipped, though, and worry still more when I read Issue 5, and worry still more when I saw Issue 6 arrives next Wednesday.
It’s time once again for our monthly trip through Previews looking for cool, new comics. We’ve each picked the five comics we’re most anticipating in order to create a list of the best new stuff coming out two months from now.
As usual, please feel free to play along in the comments. Tell us what we missed that you’re looking forward to or – if you’re a comics creator – mention your own stuff.
G.I. Joe #1: As if G.I. Joe wasn’t entirely in my guilty pleasure wheelhouse already, IDW Publishing relaunches the title with Fred Van Lente as writer and the tease of social and media commentary as the team is forced to go public in its fight against Cobra. Seriously, that’s just unfair, people. (IDW, $3.99)
Hawkeye, Vol. 1: My Life As A Weapon TP: One of the best-looking comics around, thanks to David Aja (and Javier Pulido, on a couple of the issues contained herein), and something that I suspect I’m going to want in a collected edition to give to friends wanting some fun, fast-moving action stuff to read. Best thing Matt Fraction’s done in a long time, too. (Marvel, $16.99)
New Tales of Old Palomar HC: Continuing my Love and Rockets education, a chance for me to pick up Gilbert Hernandez’ return to Palomar in this new collected edition of his Ignatz series. This is definitely my favorite of Beto’s work, so I’m happy to see more. (Fantagraphics, $22.99).
The Sixth Gun: Sons of The Gun #1: A new spin-off series from Cullen Bunn and Brian Hurtt’s spectacular horror western? Why, I really don’t mind if I do, thanks very much. For added benefit, having Brian Churilla show up for art duties is pretty sweet, as well. (Oni Press, $3.99)
Young Romance: A New 52 Valentine’s Day Special #1: Even if I’m feeling less than enthused about the majority of DC’s superhero line lately, I have to admit, the idea of a Valentine’s Day special one-off is just far too tempting for me to ignore. (DC Comics, $7.99).
The rapid rise of social media has been both a blessing and a curse to the frequently complicated creator/fan relationship. Whereas a decade ago a reader might’ve followed a writer or artist’s occasional posts on Livejournal, or on rare occasion even received a response to a message-board comment, now there’s direct interaction on Twitter, Tumblr, Facebook and Formspring. While those exchanges frequently go well, with an artist responding thoughtfully to a sincere and polite question, we’ve all seen our share of venomous tweets from readers and embarrassing Facebook meltdowns from creators.
When the subject turns to sensitive territory, like gender or ethnic representation in mainstream superhero comics, the chances of a social-media misfire increase dramatically. That’s why I was so pleased to read this recent exchange on the blog of Matt Fraction, writer of Marvel’s FF, Fantastic Four and Hawkeye. Asked (politely) why, when presented the opportunity to diversify the cast of FF, he opted for Miss Thing to be white — “Do you think FF would work with an African-American Miss Thing and why aren’t you writing that book?” — Fraction responded with a refreshing mix of humor, honesty and chagrin, and without the tetchiness you might expect from such a scenario.
The Marvel NOW line-up continues to roll out first issues galore, with this past Wednesday bringing the snappiest-looking relaunch so far–FF #1 by Matt Fraction, Michael Allred, Laura Allred and Clayton Cowles. The sister title to Marvel’s original first family, FF #1 features a hand-picked replacement team that’s needed to fill in for Reed and company for a whole four minutes. What could possibly go wrong?
If you were on the fence about the title, here are a few opinions from around the web to help you decide which way to fall:
Ryan K. Lindsay, Comic Book Resources: “FF #1 looked to be the wildest book of the Marvel NOW! line up: Matt Fraction and Michael Allred on a crazy new science team for the Fantastic Four world. It was one of those books that was either going to be too good to be true or belly flop hard. Unfortunately, this issue doesn’t give much of an indicator either way except to leave worry it’s not off to a dazzling start — not that it feels like it’s started yet.”
Digital comics | I talked to Viz Media Executive Vice President Alvin Lu and the head of Viz Labs, Gagan Singh, about the company’s digital strategy, which includes the recent announcement that their digital magazine Shonen Jump Alpha will publish manga chapters simultaneously with Japan; the idea, Lu explains is to create the same sort of weekly ritual that superhero comics readers have, and to use the digital releases to build a community both online and in the real world. [Good E-Reader]
Creators | Fantastic Four was the first Marvel Universe comic, so it has been around for a while, but writer Matt Fraction is doing his best to keep it fresh: “Anything you can do to run contrary-wise to expectation to keep people guessing and wondering and entertained and surprised, you should do because otherwise people are going to dismiss the book as ‘Been there, read that.’” [USA Today]
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, my Wednesday haul would start with Glory #30 (Image, $3.99). This series has been great, and since Kris Anka began doing covers, it’s gone to very great. Now, seeing New Yorker cartoonist Roman Muradov coming in to do a story makes it potentially even more, well, great. I’m psyched to see Glory face off against her sister, and Campbell’s depiction of both has been mesmerizing. Next I’d pick up Comeback #1 (Image, $3.50), featuring letterer Ed Brisson making his major writing debut. The cover design by Michael Walsh is impeccable, and the concept of time traveling for grieving loved ones is a fascinating concept. Next up, I’d get a Marvel double – Wolverine and the X-Men #21 (Marvel, $3.99) and Hawkeye #4 (Marvel, $2.99). This carnie issue of Wolverine and the X-Men is intriguing; it’s going out on a limb, but after what Jason Aaron and Nick Bradshaw have done so far, I trust them. With Hawkeye, I’m slightly hesitant to pick up an issue knowing David Aja isn’t drawing it, but Javier Pulido has the potential to be an ideal temporary substitute.
If I had $30, I’d look back on my $15 and reluctantly put Hawkeye #4 back on the shelf to free up money for Derek Kirk Kim’s Tune, Book 1: Vanishing Point (First Second, $16.99). Man oh man, do I love Kim’s work, and seeing the previews for this online makes me see a honing of the artist’s style akin to the way Bryan O’Malley did between Lost At Sea and Scott Pilgrim. Count me in.
If I could splurge, I’d take a chance on the anthology Digestate (Birdcage Bottom Books, $19.95). I’m no foodie like C.B. Cebulski, but I like food and I like anthologies so this is right up my alley; especially when the chefs include Jeffrey Brown and Liz Prince. Where’s my order?
I’ve been a David Aja devotee since I first discovered his work in The Immortal Iron Fist #1. Much like Marcos Martin (another favorite), Aja has a clean, deceptively simple style, a keen sense of design, and a gift for pacing (you need look no further than this page for an example of, well, all of that). So naturally when Marvel announced he would be reuniting with his Iron Fist collaborator Matt Fraction for Hawkeye, I was thrilled. Only three issues in, the series has already proved to be a perfect showcase for the talents of both creators. Gun fights, archery, car chases, a sassy sidekick, sex — what more could a person ask for in a comic?
As most of you are well aware, Marvel NOW! is Marvel’s new initiative to re-brand and re-freshen its line of superhero comics, which seems to be a sort of undeclared response to DC Comics’ 2011 New 52 relaunch.
Whereas the Distinguished Competition rebooted its continuity as well as giving all its series new No. 1 issues, Marvel’s effort is more akin to the branding enterprise that followed past crossover events (“The Heroic Age,” “Dark Reign,” “The Initiative,” etc), albeit to a far greater extent: In addition to bearing uniform cover design, many of the NOW! books are also being relaunched with new No. 1 issues and getting new creative teams (although many of those teams are simply swapping assignments; for example, the guy who was doing Avengers is now doing an X-Men comic,while a guy who was doing an X-Men comic is now doing an Avengers comic, and so on).
The idea, one imagines, is, as always, to sell more comics — to lure lapsed readers, Marvel-curious readers and (judging by the numbers of variants being published) collectors and speculators to try out some of the new and/or refurbished comics. It worked on me, so I thought it might be interesting (or at least something to write a blog post about, which is basically the same thing for me) to use myself as a case study to examine a single instance of a new reader trying out a Marvel NOW! book.