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Legal | Witnesses testified Wednesday in a preliminary hearing that driver Matthew Pocci honked his horn and drove through the crowd of spectators last year during the annual SDCC ZombieWalk: San Diego, despite attempts by spectators stop him. Pocci, who is deaf, has been charged with felony reckless driving causing serious injury. But Pocci’s fiancee, April Armstrong, said the crowd had mostly passed when he started the car, and that the people surrounding them were frightening: “People then started laughing at us. People were getting close to us. I started to freak out. I couldn’t understand what was going on. I was looking back at my son, he was scared. I told Matt, ‘please let’s go.'” Armstrong also testified, however, she had told a neighbor she felt she couldn’t tell the true story because of her relationship with Pocci. [San Diego Union-Tribune]
Zander Cannon fans can rejoice, as the first issue of his Oni Press giant-monster series Kaijumax hits shelves on Wednesday. When I first heard about the comic, which is send on an island prison for for kaiju, the phrase “Pacific Rim meets Orange is the New Black” was mentioned. That’s certainly an apt comparison.
Creatively this project marks a major departure for Cannon, as all of his work is completely digital for the first time. The cartoonist shared a peek behind the scenes at a page from the second issue, showing the steps from rough layout to final product:
Creatively, this will be a satisfying week for Invisible Republic creators Corinna Bechko and Gabriel Hardman, as the first issue of their ambitious sci-fi adventure — “Breaking Bad meets Blade Runner” — arrives from Image Comics.
Bechko and Hardman initially started Invisible Republic around 2009, only to set aside in order to collaborate on other projects. When the creators picked it up again, Hardman chose to rework his art to a certain extent. Fortunately for ROBOT 6, Hardman notes, “I drew the entire first issue years ago before we reworked it into its current form and we haven’t shown these original versions of the pages anywhere else.”
The black-and-white pages are the original versions, while the final versions are in color (courtesy of series colorist Jordan Boyd).
Writers James Tynion IV and Noah J. Yuenkel have teamed with artist Matt Fox for UFOlogy, a six-issue miniseries debuting April 1 from BOOM! Studios. Set in the Midwest, the story centers on two teens, Becky and Malcolm, who uncover a mystery involving aliens that somehow traumatized both of their parents more than a decade ago. To mark the launch of this new series, BOOM! Studios asked artist Alison Sampson to create a Jackpot Variant, which will only be one for every 100 copies of Fox’s main cover.
Sampson shared with ROBOT 6 the creative process behind her cover:
Hellbreak, the upcoming supernatural action series by Cullen Bunn, Brian Churilla and Dave Stewart, marks a departure on two fronts for the illustrator, who not only embarked on a new artistic style but also made the move to digital.
Ahead of the title’s debut next week from Oni Press, Churilla shared with ROBOT 6 a look at his process. It’s particularly interesting to learn that preference for working in blue pencil, as he explains, mostly is due to the influence of the Chip Kidd/Paul Dini Batman Animated art book.
Next week will be big for Thief of Thieves artist Shawn Martinbrough on two fronts, as not only does Thief of Thieves #26 go on sale Feb. 25, but on the following day he’ll discuss his career and his noir-influenced approach to storytelling as part of the Society of Illustrators’ celebration of Black History Month. He’ll be joined in the conversation by comics writer and historian Danny Fingeroth.
In conjunction with the release of Thief of Thieves #26, ROBOT 6 asked Martinbrough to rank his 10 favorite covers, and reveal a bit about the creative process for each one:
This week marks the release of Matthew Dow Smith‘s October Girl #3, nearly two and half years after the debut of the second issue of the Monkeybrain Comics series. Smith is the first to admit that’s way too long a period between issues.
As part of my continuing effort to have creators open up about their creative process, I asked Smith to share the process for creating a page from October Girl #3. He’s clearly eager to get the next installment of his dark fantasy series into readers’ hands. Understandably, given that the story’s core concept seems delightfully engaging on several levels (a young woman, Autumn Ackerman, discovers that her imaginary childhood friend is quite real).
Next month Dark Horse will release a collected edition of Murder Book by writer Ed Brisson and a variety of artists — Declan Shalvey, Simon Roy and Johnnie Christmas, among them — with a new cover by Michael Walsh (based in part on one of his designs for a previously released volume of Murder Book stories).
Dark Horse’s Associate Editor Jim Gibbons was kind enough to share with ROBOT 6 some of the cover process for the new Murder Book trade paperback, due out March 18.
In The Life After, the Oni Press series by writer Joshua Hale Fialkov and artist Gabo, things can get a little complicated — not only in the story, which involves religion, purgatory and even a dead Earnest Hemingway, but also in the construction of each issue. After all, this is a comic whose debut featured a 50-panel two-page spread.
But what does it take to create a cover for the series? Glad you asked! We’re pleased Gabo has shared with ROBOT 6 his cover process for The Life After #9, which goes on sale in April (in more immediately news, Jan. 28 sees the release of a direct market-only $9.99 trade paperback).
Check out Gabo’s step-by-step process and commentary below:
This week sees the release of the sixth issue of Natalie Nourigat‘s Eurotrip sketchbook Tally Marks, from Monkeybrain Comics. In addition to the preview on Comic Book Resources, Nourigat provided ROBOT 6 with some other pages, as well as a selection of scans directly from the sketchbook. It provides readers with an idea of what her art looks like before Photoshop tweaks.
Late last year, I noticed that writer/artist Mike Dawson was contributing original content to The Nib, a collection of political cartoons, comics journalism, humor and nonfiction at Medium.com edited by Matt Bors.
Curious to learn what led him to participating at The Nib, and hoping to see if I could get Dawson to break down one of his recent pieces that ran there, I reached out to the cartoonist. It turns out he was more than happy to reveal the development process for his Oct. 6 strip, “The Underdog Myth.”
This week Titan Comics releases a new collected edition of Kingdom of the Wicked, the 1996 fantasy miniseries by frequent collaborators Ian Edginton and D’Israeli (Dark Horse published a hardcover collection in 2004, but it’s out of print.)
The new edition offers a sort of director’s commentary by D’Israeli, who details his creative process. To let readers know what they will get when buying the book, Titan shared with ROBOT 6 some the process for one page, as well as D’Israeli’s commentary.
Beginning n February, writer Stuart Moore and artist Gus Storms embark on a new five-issue EGOs arc, called “Crunched.” As noted in Image Comics’ solicitations, “The narcissistic super-team of the future returns to battle an invisible threat to the galactic economy.” To whet folks appetite for the upcoming arc, Moore, Storms and designer Brett Evans detailed for ROBOT 6 the steps leading up to the final cover design.
This week marks the release of Valiant Entertainment’s Eternal Warrior: Days of Steel #2, written by Peter Milligan in collaboration with artist Cary Nord, colorist Brian Reber and letterer Dave Sharpe. In anticipation of the new issue, the publisher shared with ROBOT 6 process pages by Nord, Reber and Sharpe. One detail of note: There is no inking stage, as Reber colors directly over Nord’s pencils.
Valiant describes the upcoming issue as follows:
This week marks the release of the final collected volume of Jack Katz‘s an epic series initially published in the 1970s and ’80s. Titan Comics began reissuing Katz’s magnum opus, which clocks in at an impressive 768 pages, in 2013. Each remastered volume was produced utilizing cleaned and restored art taken from high-resolution scans of Katz’s original art pages, as well as being completely relettered. Titan also provided background information on the history of Katz’s story, as well as extra material, such as character sketches as well as original drawings.
To mark the release, Titan Comics shared with ROBOT 6 some of the extras included in the final volume.