Axel-In-Charge: "Secret Wars" Jam Session Talking "A-Force," "Ultimate End" and More
Continuing with our annual “Looking Forward, Looking Back,” we asked creators and other industry figures what they liked in 2014, what they’re looking forward to in 2015, and what projects they have planned for the coming year.
In this installment, we hear from Faith Erin Hicks, Kevin Colden, Ben Towle, Gabriel Hardman, Jeff Parker, Jennie Wood, Blake Northcott, Irene Koh, Gus Storms, Janelle Asselin, Nolan Woodard and Janet K. Lee!
As part of All-New Marvel NOW!, veteran artist Lee Garbett will team in February with writer Al Ewing for Loki: Agent of Asgard, a series the god of mischief is fully grown and in the service of the All-Mother. More immediately, however, Marvel is setting the stage for the initiative with All-New Marvel NOW! Point One #1, a one-shot that arrives Jan. 8 with a Garbett-drawn Loki serving as the thread that brings together all of the stories.
In my interview with Garbett, the artist clearly relishes the opportunity to draw Asgard’s new “one-man secret service” as well as work with Ewing. ROBOT 6 is also pleased to provide an exclusive page from the upcoming All-New Marvel NOW Point One.
Hard to believe, but this month marks four years since I first interviewed artist Peter Krause about his return to comics. More immediately, today marks the return of Mark Waid and Peter Krause’s Insufferable at Thrillbent 2.0 with a new arc, “On the Road.” Through Thrillbent 2.0, Insuffereable: On The Road is free to view and download or embed — there are plenty of ways to enjoy the somewhat reconciled father-son team of Nocturnus and Galahad (seemingly led by the smarter than both of them, Meg). In addition, there are bundled editions of the first Insufferable arc (with extras) for sale at comiXology.com.
Tim O’Shea: How did Mark Waid convince you to try working in a then-relatively new medium like digital comics on Insufferable?
Peter Krause: The main attraction was that I’d get to keep working with Mark. I really valued the time we’d spent on Irredeemable for BOOM! I stepped away from that book because of time constraints — I was doing non-comics work that was making it harder to bring an “A” game to Irredeemable.
To think there are people in the present-day comic book industry that fail to respect colorists is hard to believe. Yet, as we noted late last month, colorist Jordie Bellaire wrote about her work being minimalized when an unnamed convention refused to name colorists as guests. The post resulted in an impromptu #ColoristAppreciationDay on Twitter as well as a larger conversation about the important value of colorists.
In the wake of that discussion, I chatted with Bellaire about the post, as well as her work as a whole. The timing turned out well, as despite her busy schedule, she was able to do an interview. It seems as if every week there’s a new comic released that features her as colorist. This week it’s Captain Marvel #10, while next it’s the debut of The Rocketeer: Hollywood Horror miniseries written by Roger Langridge with Bellaire coloring artist J. Bone. Bellaire saves the best for last in our Q&A, revealing that she hopes to get back to illustrating — and that she has dabbled in writing.
Tim O’Shea: In all of the reactions from your initial Tumblr post in praise of colorists, what pleased or surprised you the most?
Jordie Bellaire: The response itself was extremely surprising! I didn’t expect anything to really come of my angry little blog post. I try to keep my “internet persona” pretty humorous and silly. I don’t really get “for realsies” worked up over anything online (unless it’s something Star Wars-related). When I posted this at 7 a.m. on hardly any sleep (I was in a tough deadline week, of course), I expected maybe three people to see it and those would have been just friends. Somehow, though, the letter spread fast. I was just thrilled. Given, keeping up with the response during the day totally killed my productivity, I was too busy watching the internet explode in the name of colorists.
Longtime readers of this column know that I relish the chance to interview beyond the typical creative interview dynamic of writers and artists periodically. So soon after I found out SCAD Atlanta Adjunct Professor and Professional Colorist Nolan Woodard was part of the Thrillbent’s Insufferable creative team (along with writer Mark Waid, artist Peter Krause and Letterer Troy Peteri), I reached out to him for an interview. We also delve into his BOOM! Studios work (including Incorruptible, Irredeemable, Planet of the Apes) and other aspects of his creative pursuits
Tim O’Shea: How early in life did you realize you wanted to be a colorist?
Nolan Woodard: I never really sought to specifically be a colorist but it’s been no surprise to anyone who knows me. When I was twelve or so I’d use Windows 3.1 Paintbrush to make digital drawings, lots of Aliens and Terminators. Then in college where I was introduced to Photoshop 3, I ate up the digital courses. By the time I graduated and landed a job in advertising at Wieden+Kennedy, I was learning Photoshop on a scale I previously didn’t know existed, doing retouching and color correction on their Nike, EA and Starbucks accounts. When the time came for me to follow my heart and get back into comics, coloring was a no-brainer.
Hello and welcome to What Are You Reading? This week our special guest is artist Ivan Anaya, one of the winners of the winner of the Skullkickers Tavern Tales Contest. He’ll join the other winner, writer Aubrey Sitterson, on a story for Skullkickers #18.
To see what Ivan and the Robot 6 crew have been reading, click below.
If the first day of the Chicago Comic & Entertainment Expo was dominated by announcements from Dark Horse and DC Comics, then the second day belonged to Marvel, which followed through on its teaser for a new series, revealed an Icon relaunch, and shuffled some creators. Here are some of the highlights from Saturday (along with a couple of holdovers from Friday):
• As usual, the “Cup O’ Joe” panel was where Marvel rolled out its biggest publishing announcements, beginning with confirmation that the teaser released last week is indeed for a Hawkeye ongoing series reuniting The Immortal Iron Fist collaborators Matt Fraction and David Aja. In the title, which debuts in August, Clinton Barton will be accompanied by fan-favorite Young Avenger Kate Bishop as he fights organized crime in New York City. “It’s very Avengers, by which I mean John Steed and Emma Peel. There’s a whole healthy person between the two of them,” Fraction told Comic Book Resources. “There’s a line in Rocky where he says, ‘I got bumps. You got bumps. Together we fit,’ or something like that — the two of them fit together. Each one has what the other doesn’t, which means they work very well together. She’s young, incredibly gifted, incredibly cultured, and incredibly headstrong. She doesn’t suffer his crap and also wants to be someone worthwhile, but she’s trying to figure out how to make that possible. She follows him not because of his abilities, but his accomplishments. So they work together quite well. It’s an apprentice and master style relationship.”
Daredevil and Irredeemable writer Mark Waid has been gearing up for the launch of a new digital comics imprint, and this weekend we learned not only the name of this new imprint, Thrillbent, but also the first project–Insufferable, with artist Peter Krause and colorist Nolan Woodard.
“The project itself is going to be amazing but this entire endeavor goes beyond just the entertainment value. Mark and his fellow trailblazers are sharing everything we learn from successes to mistakes online. He’s re-purposed his website MarkWaid.com as an educational tool for the world to learn right alongside us. That is what I call giving back and then some!” Woodard said on his blog. “Since the beginning I’ve been excited to make this announcement to the world. Waid and Krause are wonderful collaborators and make me, a colorist, feel like I matter, really matter, in a world where colorists often don’t even get credit let alone recognition.”
Shawn Crystal is a SCAD Atlanta professor I met back in October (as documented in this story). In addition to his role educating storytellers, Crystal is a professional artist equally busy building a name for himself in the comics industry. Tomorrow (February 3) will feature the release of his latest effort, Deadpool Team-Up 896 (written by Stuart Moore). As previewed last week by CBR and detailed here: “Get ready to hit the road with U.S. ACE, Marvel’s truckin’ hero! He’s back behind the wheels of a big rig with an unlikely partner — DEADPOOL — and together they’re puttin’ the hammer down, ridin’ the open road, and decapitatin’ giant killer raccoons. Good times…if they don’t kill each other first! Featuring the working-class villainy of THE HIGHWAYMAN, and the world premiere of the chart-toppin’ “Ballad of U.S. Ace,” composed and performed by Wade Wilson. What part of ‘Collector’s Item’ don’t you understand?” I was pleased to get an opportunity to talk to Crystal about this issue and creators he respects (as well as find out his David Lapham news). After enjoying this email exchange, be sure to check out Crystal’s blog as well as his deviantART page.
Tim O’Shea: The first question I have to ask–what reference does an artist use when drawing giant killer raccoons?
Shawn Crystal: There is a very popular book many artists have in their studio, and cherish like the arc of the covenant. It’s called “Homicidal Animals: A reference manual for the aspiring cartoonist.” Unfortunately, I do not own this book, so I had to resort to some more traditional methods. I started with the obvious, books on raccoons that were peppered with glamour shots of these little buggers. I also spent some time seeing how other artists had handled raccoons, mainly animators. There was some decent stuff in “Disney’s: The art of Pocahontas.” I also talked to a buddy of mine, Brad Walker who draws Guardians of the Galaxy, which has Rocket Raccoon as a team member. Researching raccoons was fairly easy; creating the chopper gang was a ton of fun. I needed to design a gang of Uzi wielding raccoons on motorcycles. The first thing I needed to find was a thread, something to make this gang seem like a team. Working for Marvel affords me the luxury of using their library, so I chose the X-Men. Well, the kid in me did. I started designing raccoons based on the themes and shapes of some of the X-Men and their costumes. I also wanted to give this biker gang a Hells Angel’s feel, ol skool choppers and leather. I didn’t want to go with the more current crotch rocket trend. I have an affinity of the art of Von Dutch, Ed “Big Daddy” Roth and Robert Williams. I pulled out the books I have on these guys and started drawing. X Men + Hells Angels + Racoons = Crazy fun designing.
Back on October 23-25, the Sequential Art Department at the Atlanta campus of Savannah College of Art and Design (SCAD Atlanta) hosted a comics art forum with Sean Murphy (2003 SCAD Savannah graduate and artist on the upcoming Grant Morrison-written Joe the Barbarian for Vertigo) and Matthew Bernier (School of Visual Arts in Manhattan graduate and currently at work on a book for First Second). Since I’m a Georgia-based member of the Robot 6 crew, Chris Schweizer, a SCAD Atlanta professor and creator of Crogan’s Vengeance, invited me to the forum.
According to Shawn Crystal, SCAD Professor (as well as one of the artists on last month’s Deadpool 900 [Marvel]), SCAD’s Comics Art Forum tradition started in Savannah years ago. Crystal selects the guests that are invited to the forum. “Every year, when I pick guests, I look to pick progressive/passionate artists. Artists who are doing new and exciting things, helping to move the medium forward,” he said. “Our Atlanta Faculty throw names around until we settle on the best choice for that year.”
Schweizer echoed Crystal’s thinking. “When we arrange these events, we try hard to pick guests whose work (and approaches to their work) varies from ours, because it opens our eyes to new ideas, and it does the same for our students,” he said.