EXCLUSIVE: Brian Michael Bendis Interviews Chuck Palahniuk on "Fight Club 2"
Film, Comic Books
Brett Ewins, the influential British artist perhaps best known for his work on Judge Dredd and Rogue Trooper, has passed away at age 59.
An early collaborator of Peter Milligan, whom he met at Goldsmiths College, and Brendan McCarthy, Ewins began providing covers for 2000 AD before soon reteaming with McCarthy on Future Shocks and Judge Dredd. His other 2000 AD work included ABC Warriors, Bad Company, Judge Anderson and the aforementioned Rogue Trooper.
Retailing | Fans of the Fall River, Massachusetts, retailer StillPoint Comics, Cards & Games kicked in $5,000 in a GoFundMe campaign to keep the store in business. The shop, which opened in 1997, had to close for 10 days last month after its power was shut off. [The Herald News]
Publishing | Following confirmation last month of a Space Mountain graphic novel series, Heidi MacDonald talks with executives from Disney Publishing Worldwide about the expansion of the new Disney Comics imprint. [Publishers Weekly]
Events | Sean Kleefeld reports on Day 1 of the Billy Ireland Cartoon Library & Museum Grand Opening Festival of Cartoon Art in Columbus, Ohio. [Kleefeld on Comics]
In an impromptu interview at The Walking Dead‘s 10th-anniversary party held during Comic-Con International, CBR’s Karl Keily spoke briefly with Grant Morrison about the one superhero he’d still like to tackle, the status of his Rogue Trooper screenplay, and whether fans should expect another MorrisonCon.
Karl Keily: You just wrapped up your epic, decade-long, redefining Batman run. Are there any other iconic characters you’d like to revamp next?
Grant Morrison: The Flash is the only one left that I would still do. If I’m gonna do the Flash, I want to do it as a science-fiction story like The Incredible Shrinking Man or Stephen King’s Thinner, or The Fly, where you basically take a scientist and then subject him to a very simple equation. For Barry Allen, he’d just be getting faster and faster and faster — and what would that mean? Because somewhere up there is the speed of light, and when you hit the speed of light, basically all time stops and it’s the end. That’s the limit. So we’re watching this guy progress through it, faster and faster. By the end of Act 1, his clothes are burning off every time he moves, so he has to build himself a suit, and then he paints the suit red like a Ferrari and is just speeding around like he’s on coke all the time! I want to do that as a sci-fi story, but out of it comes the familiar image of the Flash. I think that’d be totally different, just taking it from a different angle.
Does everybody remember Mongoose Publishing’s Kickstarter campaign to raise money for a range of Judge Dredd miniatures? I can’t think of many comics-based crowd-sourcing campaigns that reached their initial target so quickly and outstripped that original target by so much (after originally seeking $2,000, they finally ended at $101,457, allowing for multiple stretch goals). Well, now Mongoose is fundraising for another miniatures-RPG based on a classic 2000AD property Rogue Trooper. Again, they’ve quickly shot past their first target of £6,000 in just one week, allowing for another ambitious program of stretch goals to roll out.
Clearly Mongoose is tapping into something big with these campaigns, there’s a demand for these products that has probably gone unnoticed by non-gamers for years.
This week sees the release in the United Kingdom of Rogue Trooper: Tales of Nu Earth Vol. 3, a collection of the final days of the original run of 2000AD‘s cloned science fiction soldier. Re-reading the book this weekend, it struck me how little the kid who read these strips at the time they were published appreciated some of the greatness they offered, how oddly ahead of its time Rogue Trooper was during the period these strips came from, and how surprisingly educational this book is for wonks like me who like to see how the comics sausage is made.
Let’s start with that greatness. Look at this art by Jose Ortiz:
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 start things out with Wolverine and the X-Men #11 (Marvel, $3.99). I was worried this series’ intersection with Avengers Vs. X-Men might put this book in a tailspin, but from the preview it looks copacetic. Aaron has real amazing grips on these characters despite being less than a dozen issues in, and Nick Bradshaw has quickly come from being a surprising follow-up to Chris Bachalo to arguably being more in line with the book than Bachalo himself. Next up for me would be Walking Dead #98 (Image, $2.99), the low march toward #100. After that I’d get FF #18 (Marvel, $2.99) for something arguably better than its parent book Fantastic Four. I hope this title lives on past Hickman’s run on the book, because it’s succeeded in being more than the stereotypical kids team book. After that, I’d snap up Supercrooks #3 (Marvel/Icon, $3.99). Leinil Yu is on a real high here, doing art that goes up against his great High Roads and Silent Dragon era work. Mark Millar’s story is really optimum Millar-style work, but Yu’s storytelling and rendering here are the best in some time.
If I had $30, I’d buy one additional thing: Empowered, Vol. 7 (Dark Horse, $16.99). Adam Warren has really blossomed since his days doing Dirty Pair, and Empowered is a great second act showing the seedy side of superheroes. Adding to that, Adam Warren keeps up a great online presence over on DeviantArt and releases all sorts of magnificent process sketches to go along with the book.
If I could splurge, I’d spend my grocery money this week on Batman: Death By Design (DC, $24.99). Like some sort of Mister X meets Dark Knight crossover, this book is an interesting work especially in contrast with the day-to-day of DC with New 52. I still think of Chip Kidd more as a designer than a writer despite reading his first novel, but I hope this breaks that in my mind and allows me to see him for both his creative avenues.