Wizard World Portland Archives - Robot 6 @ Comic Book Resources

CBLDF unveils Nic Klein’s ‘Deadly Class’ #1 Liberty Variant

deadly-class1-liberty-cropp

The Comic Book Legal Defense Fund has unveiled Nick Klein’s Liberty Variant for Deadly Class #1, which will premiere this weekend at Wizard World Portland in Portland, Oregon.

Debuting today, the new Image Comics series by Rick Remender, Wesley Craig and Lee Loughridge centers on students at a high school for future assassins in the late 1980s.

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Comics A.M. | Tom Tomorrow wins Herblock Prize

This Modern World

This Modern World

Awards | Dan Perkins, better known to his readers as Tom Tomorrow, is the winner of this year’s Herblock Prize for excellence in editorial cartooning. Panelist Matt Bors cited his “consistently hilarious takedowns of women-bashers, gun culture and the president’s abuse of executive power.” The finalist was Sacramento Bee editorial cartoonist Jack Ohman. The award includes cash prizes of $15,000 (after taxes!) for the winner and $5,000 for the finalist. [The Daily Cartoonist]

Publishing | Dark Horse founder Mike Richardson explains how the company develops licensed properties, specifically “expanded universes” that build on the world of a movie or video game: “So we came up with the idea that we could approach these licensed properties as sequels, particularly in the early days when we focused primarily on film. We’d sit down like fanboys and say ‘Okay, that was great, what can we do next?’” [Forbes]

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Comics A.M. | Gene Luen Yang announces two-volume graphic novel

From "Boxers and Saints"

Creators | Gene Luen Yang, creator of American Born Chinese, has revealed his latest project Boxers and Saints, a set of two graphic novels about the Boxer Rebellion in China; one story is about a peasant who joins the Boxers, while the other is about a woman who converts to Catholicism. First Second will publish them as a slipcased set. There’s a 10-page preview as well as an interview at the link. [Wired]

Comics | Jim Rugg notices that his print copy of Hellboy in Hell doesn’t look as good as his friend’s digital copy, and where most of us would have just shrugged and moved on, he takes the time to think about why that is and how careful publishers can ensure that print comics look their best. [Jim Rugg]

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