talking comics with tim Archives - Robot 6 @ Comic Book Resources
I consider myself fairly well-versed in large-scale atrocities. So I was surprised to discover I was unaware of 1933’s Nazino affair until last week, when writer Steve Ekstrom launched his webcomic Cannibal Island.
To learn more about his new collaboration with artist Dionysios, I reached out to him with a few questions. The webcomic gave readers seven pages last week and will return with new installments on Oct. 15, 22 and 29 (along with a bonus surprise on Oct. 31).
One of the most memorable Spider-Man storylines of the 1980s remains J.M. DeMatteis and Mike Zeck’s “Kraven’s Last Hunt,” which featured the ultimate battle between Kraven the Hunter and Spider-Man. Now, nearly three decades later, Marvel has enlisted Neil Kleid to author a prose adaptation, Spider-Man: Kraven’s Last Hunt.
To mark the novel’s release today in comic stores, Kleid talked with me about the nuances of the adaptation. He’ll appear today at 6 p.m. for a book signing at JHU Comic Books in New York City.
With the release last week of Princess Ugg #4, writer/artist Ted Naifeh cleared some time in his schedule to discuss the ongoing Oni Press series. After years spent with Courtney Crumrin, the creator moves into new territory by combining barbarian adventure with a princess finishing school to create a social satire/adventure tale.
While I had read the first few issues in preparation for our discussion, I have to admit I was pleasantly surprised to learn Naifeh created the character out of a desire to “play with Frazetta-style barbarian fantasy.” That turns out to be just one aspect of his work I was delighted to learn about, has his candor about the creator/editor dynamics also proved informative.
Anyone who read my Best of 7 piece from Sunday on Edge of Spider-Verse #2 likely got the impression I’m eager to see more about the Spider-folks from other universes. On Wednesday readers will get a chance to read Dustin Weaver‘s Edge of Spider-Verse #3 starring Dr. Aaron Aikman, Spider-Man.
In early August, in the wake of Mike Dawson’s conversation-starting essay, Magic Whistle creator Sam Henderson assessed the mitigating factors affecting his work as a cartoonist, laid many of the challenges at his own feet. As refreshing as it was to read a candid assessment of his creative plight, I was curious to learn Henderson’s mindset after people he responded to his post. While I was at it, of course, I angled to get a glimpse of his creative process.
It surprised me to see Jimmy Palmiotti pursuing yet another Kickstarter in 2014, considering he had successfully completed one earlier in the year for Denver. This new one, launched this week, focuses on Sex and Violence Vol. 2.
My decision to interview the veteran writer wasn’t based on aiming to help him achieve his Kickstarter goal; he’s days, if not hours, away from achieving that. Instead, I hoped to tap into some of the knowledge that allows him to so effectively operate crowdfunding campaigns (many of the completed projects can be bought at the PaperFilms shop).
Not only did the creator offer some of the lessons learned from his past Kickstarters (hint: avoid the shipping costs from hardcover), but he also proved quite candid about the challenges of swimming in creator-owned waters. Palmiotti also was willing to elaborate about his perspective on last week’s controversy about Milo Manara Spider-Woman #1 variant cover.
To my mind, there can never be enough all-ages comics. By all-ages, I mean comics that resonate and entertain folks of, well, all ages, not just children. So I was intrigued to learn that writer Dave Scheidt and artist Jess Smart Smiley launched a Kickstarter campaign for an all-ages horror/comedy collection of three stories, Spooky Sleepover.
Scheidt and Smiley were more than happy to explain their love of all-ages storytelling.
It is fair to say a newlywed couple experiences a honeymoon like no other, on myriad life-changing levels, in writer/artist Jesse Jacobs‘ new Koyama Press book Safari Honeymoon — and jungle madness is only the beginning of what transpires. Jacobs’ art belies any description that accurately conveys the complexity and intoxicating absurdity of his work.
In this interview, I gain insight into his creative approach, among other areas of interest.
Having covered comics for a number of years, I always appreciate encountering a storyteller excited about pursuing what they hope is a major milestones in a long, successful career. That’s the impression I got while interviewing Ireland-based artist Will Sliney about his big break as the regular artist on the new ongoing Spider-Man 2099.
I was so focused on discussing his new series, I neglected to congratulate and him on being named Cork Person of the Month in July (Sliney hails from Ballycotton in East Cork).
Whether or not you realize it, you’ve likely enjoyed the work of comics historian John Wells for several years, given his long-term relationship with DC Comics. More recently, his wealth of comics knowledge has come to the forefront through his involvement in TwoMorrows Publishing‘s American Comic Book Chronicles. The series tackles comic book history dating back to the 1940s, typically dedicating a decade to each full-color hardback installment. When it came to the 1960s, Wells and series editor Keith Dallas opted to split the decade into two volumes, given the amount of history that occurred in that era.
The first 1960s volume, which covers from 1960-1964, was released early last year. Wells’ second 1960s installment, American Comic Book Chronicles: 1965-69, was released in late May. After discussing Wells latest foray in the latter part of the 1960s, the interview shifts to Dallas. In my conversation with Dallas, we focused on American Comic Book Chronicles: 1970s, which he edited with Jason Sacks; it’s scheduled for release in late August.
To get a taste of the books, be sure to check out ACBC’s Facebook page, where snippets of the series are previewed — and discussions of comic book history are a regular educational occurrence. Kudos to TwoMorrows and the ACBC Crew, whose 1950s volume of American Comic Book Chronicles (written by Bill Schelly) was recently nominated for a Harvey Award.
In addition to discussing the new status quo for Monkeybrain (which surprisingly stays much the same as before, as Roberson explains), we also delve into Edison Rex – Issue 16 arrives Wednesday — and dig into the writer’s first work for Dark Horse, Aliens: Fire and Stone, which debuts Sept. 24.
Lest you mistake Eleanor Davis‘ new collection How to be Happy for a self-help book, she spells out everything in the opening pages. It won’t help a depressed person become less depressed, but Davis does recommend two books that benefited her — a situation we briefly discussed.
I’ve long had an affinity for the Athens, Georgia-based storyteller, whom I first interviewed in 2011. That affection is partly because we live in the same state, but also because her work often strikes me as the comics equivalent of an interpretive dance. I have no other way to describe the core response that her work elicits from me. I look repeatedly at some of the pages in this collection and still find something new each time.
As a kid, The Phantom was one of my favorite comic strips. So last year, I was enthused when I learned that writer Jeff Parker was collaborating with artist Marc Laming on a miniseries called Kings Watch, starring Flash Gordon, The Phantom and Mandrake the Magician.
Ahead of the July release of the trade paperback collection, I spoke with Laming about the miniseries, and to briefly discuss how the project has opened the door for future work for him. My thanks to Laming for his time and to series editor Nate Cosby for facilitating the interview.
Seemingly every week a new Kickstarter project worthy of support attracts my attention. Last week, writer Travis Horseman made me aware of his campaign for Amiculus: A Secret History. Horseman, who characterizes himself as a incurable graphic novel junkie, clearly relished the opportunity to discuss his original, epic three-part graphic novel series telling a lost history of the fall of Rome.
At the beginning of the interview, I was curious to learn what Horseman meant by quasi-historical, and the discussion took off from there.
When two siblings work together on a comic, it creates a rare interview opportunity. The dynamics of a typical collaboration, with unrelated creators, when successful, means there’s a strong rapport between storytellers. But the link between two brothers, as in the case with Shobo and Shof Coker, means a level of candor and communication that I really wanted to discuss with the creators of Outcasts of Jupiter. Their formative years as children in Lagos, Nigeria, and its impact on their storytelling approach, was another area of interest for me.