"Sam Wilson" & US Agent Clash as Spencer's "Captain America" Saga Escalates
Coming up Dec. 10, Valiant Entertainment will launch a new four-issue miniseries The Valiant, co-written by Jeff Lemire and Matt Kindt with art by Paolo Rivera. To mark its upcoming release, Valiant shared layout, penciled, inked and colored samples of the first four pages for the first issue.
Creators | Attack on Titan creator Hajime Isayama estimates that the blockbuster manga series will end in three years. “I’d like to end things quickly, with a tight pace of story developments,” he told Japan’s Da Vinci magazine, “and then I always end up feeling like I should qualify that with a ‘but,’ so for now, I can’t say anything more specific.” [RocketNews 24]
Conventions | Nigeria, the largest economy in Africa, has a thriving entertainment industry, and comics are blossoming there as well. At The Beat, Deji Bryce Olukotun interviews Ayodele Elegba, co-founder of this past weekend’s Lagos Comic Con, about the popularity of comics, what makes the Nigerian comics scene different from others, and the ever-present problem of piracy. [The Beat]
Conventions | Image Comics content manager David Brothers explains why this year’s Comic-Con International was a great convention, pointing out that there’s a lot more to the event than movies and television, and there’s a lot more to comics than the Big Two: “Marvel and DC are comics, just like the other publishers, and they make some great ones when they let the creators do their own thing. But at this point? You can’t treat them like the entirety of the comics industry, or even two companies that can dictate the future of comics. They run the movies, and that’s cool, but running comics? It’s just not true any more. Image in particular outsells Marvel in the book market as far as trade paperbacks go, and that holds true in the comics market lately, too. That’s no coincidence. People enjoy Marvel and DC, but they want more than Marvel and DC.” [io9.com]
You may recall Paolo Rivera’s incredible Herge-inspired wedding invitations and save-the-date cards, to say nothing of the Psylocke and Wolverine cake-topper that would put some of the competitors on Food Network Challenge to shame. Now the Eisner Award-winning artist is revealing how he sculpted the characters in a video that condenses the process from about 40 hours to three minutes and 17 seconds.
“Even taking shortcuts, I barely finished in time,” Rivera writes. “I had to bake Wolverine before I finished his arm so I could make a flight (to my wedding). I carried them on the plane with me in a small box (and the TSA didn’t even stop me — guess they don’t mind adamantium).”
Considering that we spotlighted the Clown Prince of Crime, it seems only right that we make a little room for his arch-nemesis — not that we need an excuse to showcase the work of Paolo Rivera, of course.
Posting on the Muddy Colors blog, the Eisner Award-winning artist walks through his process for a page from his collaboration with writer Ivan Brandon in the recent Batman Black and White #5. As you would expect, it’s informative and beautiful (the use of the “curve ahead” sign is particularly clever). He also includes a terrific Batman character study.
See some of the art below, and the rest at the Muddy Colors fantasy art collective.
Remember Paolo Rivera’s EC Comics-pastiching variant covers for Marvel’s Guardians of the Galaxy? Well, maybe someone at Mondo did as well when they commissioned him to draw this amazing tribute to the style of Wally Wood. The print is being released to mark the end of Mondo’s “Tales from the Crypt” gallery show at their home in Austin, Texas (Comic Book Resources debuted pieces by Francesco Francavilla and Mark Todd last month).
There will be a simultaneous release with a print of Jason Edmiston’s painting of Johnny Craig’s notorious cover to Crime SuspenStories #22, used as damning evidence during the 1954 Senate subcommittee hearing on juvenile delinquency. These posters will be made available at a random time today, and as such, keep an eye on Mondo’s Twitter feed to see when.
Congratulations to Eisner Award-winning artist Paolo Rivera, who was recently married in grand comic-book style. No, not with a costumed villain crashing the ceremony, but rather with comics-themed accents, from the save-the-date cards and invitations to the cake-topper and name cards — all of which Rivera shows off on his blog.
As the artist’s new wife grew up as a fan of Tintin, he went with a Herge-esque style for the invitation illustration, which features guests ranging from Daredevil and Katniss Everdeen to Optimus Prime and (perhaps best of all) Ellen Ripley in the Power Loader. You can see the full image below, and the rest of the items — including Rivera’s sculpted Psylocke and Wolverine cake-topper — on his blog.
Publishing | ICv2 continues its look at August’s direct market numbers, declaring Marvel’s Infinity #1 a million-dollar book, the third this year to top $1 million in sales, thanks to its $4.99 cover price and estimated orders of 205,000 (DC Comics’ Justice League of America #1 and Superman Unchained #1 are the other two). However, it’s also important to note that Infinity #1 was offered to retailers at a deep discount (up to 70 percent). [ICv2]
Digital comics | Jeff DiBartolomeo explains why he left his job at HBO (he was one of the developers of their HBO Go app) to become chief technical officer at comiXology: “What’s interesting to me is seeing this market, which is one I’m not vary familiar with, and seeing the potential. It’s proving to be useful to have me come [to Comixology] with a different set of eyes, at a different angle.” [TechHive]
Paolo Rivera is perhaps best known as the Eisner Award-winning artist of Daredevil, Mythos and The Amazing Spider-Man, but before he began working for Marvel almost a decade ago, he sculpted a Mystique bust for Dynamic Forces. He followed that with another commission from the company in the form of a Red Sonja statue that he thought would amount to “a few weeks of sculpting.” However, as he explains in a new blog post, the project became a little more involved.
“As you can probably guess, a few weeks turned into 2 full months of intense noodling,” he wrote. “Aside from the challenge of being my first full figure, the mass production process required it to be divided into several pieces — what ended up being 6 in all. I let the professionals do the casting and painting this time, as I had learned my lesson with Mystique.”
Rivera, whose process posts are always informative and entertaining, goes into quite a bit of detail on his blog, and even provides a work-in-progress slideshow (below).
Paolo Rivera and David Petersen received gold and silver honors, respectively, in the comics category of the 20th Spectrum Fantastic Art Awards, presented Saturday during Spectrum Live in Kansas City. The awards recognize the best in fantasy, science fiction and horror art.
Rivera won for this cover for Daredevil #10, while Petersen won for Mouse Guard: The Black Axe #4, Page 19.
Tor.com has the complete list of winners, which includes a number of names familiar to comics readers: Dan Dos Santos, Charles Vess, Sam Weber and Brom.
“Extremely limited edition” in this case means “you can’t have one.”
Artist Paolo Rivera has more reason than most to take pride in the box office success of Iron Man 3: He has blogged before about how thrilled he was that an early poster for the movie was based on his cover for Iron Man #63, and now he’s written about his emotional investment in seeing the film for the first time.
This would be noteworthy enough in its own right, but the piece is accompanied by a spectacular print that he’s painted exclusively for the cast and crew of the production. Rivera had previously produced a suitably 1940s-looking poster for those working on Captain America: The First Avenger, and the Iron Man 3 print is designed to resemble a battered old pulp novel (suitably enough, given the styling of the end credits animation and the origins of Robert Downey Jr. and Shane Black’s previous collaboration). This is an extremely cool piece of art, and as exclusive as any limited edition poster you’re likely to see — do not expect to see copies of this one ever turning up on eBay (unlike, say, the gougers flogging his “Precious Cargo” at a helluva mark-up).
Halo 8 Entertainment has released a trailer for Ghostface Killah’s Twelve Reasons to Die, the upcoming comic series from the rapper and his fellow Wu-Tang Clan member RZA, who’s serving as producer.
Debuting May 29 from Black Mask Studios, following the release of the album by the same name, Twelve Reasons to Die blends horror and crime for “a brutal tale of gangsters, betrayal and one vengeful soul hunting the 12 most powerful crimelords in the world.”
What’s impressive, though, is the lineup of cover and interior artists: Tim Seeley (Revival, Hack/Slash), Paolo Rivera (Daredevil), Francesco Francavilla (Black Beetle, Detective Comics), Ramon Perez (Tale of Sand), Ben Templesmith (30 Days Of Night), Riley Rossmo (Bedlam), Garry Brown (The Massive), Jim Mahfood (Tank Girl), Kyle Strahm (Haunt), Toby Cypress (Blue Estate), Tyler Crook (B.P.R.D.), Joe Infurnari (Mush!), Breno Tamura (Pigs), Nate Powell (Swallow Me Whole), Gus Storms (Space Creep), Chris Mitten (30 Days of Night) and Ron Wimberly (Prince of Cats).
Twelve Reasons to Die was co-created by Ghostface Killer and Adrian Younge, and written by Matthew Rosenberg and Patrick Kindlon.
The gold and silver finalists were selected over the weekend for the 20th Spectrum Fantastic Art Annual, which honors the best in fantasy, science fiction and horror art.
Tor.com has the complete rundown of the nominees in all the categories, ranging from advertising to books to concept art — readers will recognize such names as Shaun Tan, Charles Vess, Dan Dos Santos and Greg Ruth — but what we’re really interested in are the comics finalists. You’ll find those below, with their art.
The winners will be announced at Spectrum Fantastic Art Live, held May 17-19 in Kansas City, Missouri.
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, I’d be tempted to blow it all on the recolored Death of Superman collection for the ’90s nostalgia. But then I’d probably flip through it and come to my senses, and instead get something new like Fatale #12 ($3.50) by Ed Brubaker and Sean Phillips, which looks like it’s going to be a trip, flashing back to Medieval times but self-contained as a good entry point for new readers. That’s smart comics. Speaking of smarty-pants, I’d probably get The Manhattan Projects #9 ($3.50) by Jonathan Hickman and Nick Pitarra. It’s the first part of a two-part story about scientists trying to take over the world. There will probably be lots of words that leave me dizzy. I likely wouldn’t be able to resist Matt Wagner writing The Shadow: Year One #1 ($3.99) because, you know, The Shadow knows. I haven’t been following IDW’s G.I. Joe universe but G.I. Joe #1 ($3.99) by Fred Van Lente and Steve Kurth seems like a good opportunity to try it out. And I’d finish it off with Cyber Force #3 by Marc Silvestri and Koi Pham because it’s free.
With $30, I would add to the above. Darkhawk is on the cover of Avengers Arena #4 ($2.99) by Dennis Hopeless and Alessandro Vitti, so I’d be compelled to buy that. I’ve been meaning to check out Erik Burnham and Dan Schoening’s Ghostbusters since I hear it’s real fun, so the relaunched Ghostbusters #1 ($3.99) is a perfect opportunity. Morning Glories #24 ($2.99) by Nick Spencer and Joe Eisma seems too intriguing to pass up. I am so behind on the X-books, but I’d be real tempted to try Brian Michael Bendis and Chris Bachalo’s Uncanny X-Men #1 ($3.99).
My splurge item would be tough. I’d be real tempted to get either the Iron Man Omnibus collecting the entire run of David Michelinie, Bob Layton and John Romita Jr., including the famous alcoholism story, or Counter X: Generation X – Four Days by Brian Wood. But I’d probably end up instead getting the Daredevil By Mark Waid, Vol. 1 hardcover for $35. I don’t know, do I need to justify this purchase? It’s probably the most beloved superhero comic of last year, maybe for the last couple of years. It paved the way for similarly rejuvenating series at Marvel like Hawkeye, Captain Marvel, and Young Avengers. The art by Paolo Rivera and Marcos Martin is swoon-worthy. And it wants to be on my bookshelf, dagnabbit!
Yes, I realize I just posted something about Paolo Rivera on Friday, but this is too good to pass up: The artist has put together a time-lapse video detailing his process for Daredevil #22 (above). It’s at 20 times the normal speed, compressing three hours of work into just 11 minutes.
“It’s a pretty straight forward time lapse, but there are 3 things that I’d like to point out as you watch,” Rivera writes on his blog. “First, I use reference of my own hand to facilitate the drawing process. This photo is taken on the fly using Photo Booth on my iMac. It’s as easy as using a mirror, but with more options. Second, I employ a digital perspective template of my own design for the background. It’s extremely useful, but has a steep learning curve — I plan on releasing it to the public later this year. Lastly, toward the end of the video, you can see that I had trouble with Daredevil’s legs as he’s scaling Stilt-Man’s serpentine legs. The cover as a whole went pretty smoothly, but it took me a long time to find a pose for him that didn’t look totally awkward to me. Spidey, on the other hand, was a breeze — characters who are flying/falling are always easier to draw since they don’t have to interact with any other entities.”