Axel-In-Charge: Facing the 'Divided' Marvel NOW! Future
Stuart and Kathryn Immonen‘s Russian Olive to Red King will headline a boisterous lineup of books coming in the spring from AdHouse Books. The slate, announced on The Comics Reporter, features Ignatz winner Sophie Goldstein’s new book The Oven in April, the Immonens’ long-gestating graphic novel in May, and the fourth issue of Ethan Rilly’s Pope Hats in June.
In 2010 Stuart Immonen spoke briefly to ROBOT 6 about Russian Olive to Red King, calling it a “tortured love story” featuring “petroglyphs and plane crashes and bad dogs and angry people.”
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.
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 line up to get the this year’s CBLDF Liberty Annual #5 (Image, $4.99). I’m an anthology junkie, and this hits that perfectly while also benefiting a good cause. The creator list is amazing – even without knowing who’s working with whom. After that, I’d get Happy #2 (Image, $2.99). This book’s first issue hit me harder than I expected; I was buying it for Grant Morrison to wow me with his writing, but it was Darick Robertson’s artwork that hit me square between the eyes. I’ve read all the issues of Transmetropolitan and most of The Boys, but his art here has graduated up a level and I’m almost salivating at thinking of this second issue. Third this week would be Wolverine and the X-Men #19 (Marvel, $3.99), quietly usurping Uncanny X-Force as my favorite Marvel book on the stands. Last issue’s Doop-centric theme was great for me, but I’m excited to see star pupil Nick Bradshaw back on pencils for this issue.
If I had $30, I’d double back and get Higher Earth, Vol. 1 (Boom!, $14.99) Canceled or not, this series looks interesting despite my bailing after Issue 1. It’s a complicated concept (from what I gleaned from the first issue), but I’m looking to let Humphries school me on this.
If I could splurge, I’d snatch up EC: Wally Wood – Came the Dawn and Other Stories (Fantagraphics, $28.99). I’ve been aware of Wally Wood for a almost two decades now, but I tend to go through periods of simply floating around before I consume and learn more about him in short but voracious periods. Last time it was in the bloom of Fear Agent, and seeing this in Previews a few months back got me jonesing to do it again.
Back in 2010, when Thomas Scioli started bolstering his online presence and entered the realm of webcomics with American Barbarian, I was curious to see how things would play out (as may or may not have been obvious in my June 2010 interview of him). I’ll be honest and admit that now, more than a year later (and with far more of the project online to read), American Barbarian far exceeds what I expected. As much as I have always enjoyed and respected his Kirby-influenced approach to visual storytelling, after reading this double post Apocalyptic tale, I am far more impressed with Scioli’s funky ear for dialogue. It’s like reading a 1970s comic written by a minimalist version of David Mamet. Doubting my quirky endorsement of the work? Then realize AdHouse is collecting the webcomic for a 256-page/6 ” x 9 ” /hardcover release early this year. If you don’t trust my tastes, then you should definitely trust AdHouse publisher Chris Pitzer. To mark the upcoming release, Scioli and I did another of our quick email interviews. Before diving into the interview, let me take a second to agree with JK Parkin’s sentiment in this post, back in June, that DC Comics should have considered Scioli for one of the New 52 titles that it launched back in September. So I was surprised to learn (as you can read in this interview) that DC did not contact Scioli when assembling the creative team for the new OMAC title. As I edited this interview I realized it was hard to find my favorite part of our discussion, but it may be the revelation that the look for Two-Tank Omen came to Scioli in a dream. A close second was learning a bit about his next webcomic, Final Frontier. Feel free to chime in with your favorite part of this interview and/or Scioli’s work in the comments section, please.
Tim O’Shea: As an independent creator, the job of marketing your work falls to you. Do you think over the years, you have gotten more comfortable marketing yourself? On a related note, how did you decide upon doing this one minute trailer for American Barbarian?
Thomas Scioli: Even the largest comics publishers don’t seem to have a budget for promotion, so I’d say any creator, independent or mainstream, can benefit from doing their own promotion. It’s something that I’ve never been comfortable with, but do out of necessity. I think I have gotten better about it, because in the beginning, it would give me crippling anxiety, now it’s just mild trepidation. The idea for doing a trailer came from having seen other people do it. AdHouse’s own Afrodisiac trailer and [Top Shelf’s] Infinite Kung-Fu [trailer] are two that made an impression on me when they made the rounds. It got me excited about those two works, so I wanted to do the same. I’d been dabbling with animation, back when I started AmBarb so it was a natural outgrowth of that, too. Once you start doing a webcomic it isn’t long before you realize, hey, why not just do a cartoon?
The thing that amazes/impresses me the most about Kate Beaton’ comics is how much everyone loves them. OK, not everyone — I do know one or two stragglers that refuse to find anything amusing in her sly little comics — but a lot of people from disparate fan bases really like her stuff. Indie readers like Kate Beaton, Superhero fans like Kate Beaton,, and (perhaps most notably) people who hardly ever (if at all) read comics like Kate Beaton (like my wife). She crosses boundaries in a way I don’t think I’ve seen any modern cartoonist do, let alone a webcartoonist. I think that’s even more impressive when you consider how often she relies upon (relatively) obscure historical figures and literature as the basis for her strips.
Other than that I really don’t have much to say, except that those who own her first book, Never Learn Anything From History, and haven’t bought this one yet because they’re worried it reprints the same material can relax; it doesn’t. Basically if you appreciate intelligence, wit (or smartassery) and the chance to learn something on the side, then this is the book for you.
More reviews after the jump …
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 first grab hold of my favorite of DC’s New 52, Batwoman #2 (DC, $2.99). J.H. Williams III has successfully kept up to the immense expectations he accumulated following his run with Greg Rucka, and the artwork seems to benefit even more by J.H.’s input into the story as co-writer. Next I’d dig down for two of my regular pulls, Northlanders #45 (DC/Vertigo, $2.99) and Uncanny X-Force #16 (Marvel, $3.99). For my final pick, I’d have to miss a bunch of other titles for the chance to get the CBLDF Liberty Annual 2011 #4 (Image, $4.99). I love the anthology format, and having that plus the good cause plus the a-list talent makes it a must get; seriously, can you imagine one comic book containing new work by Frank Quitely, Williams, Mark Waid, J. Michael Straczynski, Matt Wagner AND Craig Thompson? BELIEVE IT!