Axel-In-Charge: Extending "Secret Wars," Excitement for a "Totally Awesome Hulk"
That Hitler/Downfall video meme is really working overtime. First the Führer learns that NBC is moving Jay Leno back to late-night. And now … now he finds out he could have trouble tracking down some of those Blackest Night tie-ins he missed because of Marvel’s Siege #3 variant offer to retailers. (Warning: The video’s subtitles contain obscenities — and typos.)
(Via Geoff Johns)
This is why
YouTube the internet was invented.
You may not be aware of it, but the final volume in Larry Gonick’s Cartoon History of the Universe — The Cartoon History of the Modern World Vol. 2 — is coming out in a few weeks. It’s the cap stone on a really wonderful series that underscores how well comics can educate as well as entertain readers. In this swell YouTube promotional video, Gonick talks about his work and process.
Found via Forbidden Planet.
Click on that first link to see Part one. (found via Mike Lynch)
Poet and filmmaker Chad Parenteau visited cartoonist Hans Rickheit at his Philadelphia home and talked to him about his upcoming graphic novel, The Squirrel Machine. (via Flog)
BOOM! Studios has released a trailer for one of the books that made our list of San Diego announcements we were happy about, The Anchor by Phil Hester and Brian Churilla:
A preview of the book can be found in last week’s issue of Irredeemable, which cost 99 cents. You can also find the preview on the book’s new website.
Well, I don’t know what he’s really like, but in this YouTube video at least, the Maakies cartoonist plays a rather annoyed, and somewhat oddly garbed, deity, frustrated at trying to make a lesser being quaff a bottle of booze. Thank goodness for George Washington. (via Flog)
Harry Bliss makes comedy and storytelling work on many levels. How do I know? He crafted comedy out of my dry questions in this email interview. In all seriousness, I credit Bliss’ collaborations with Doreen Cronin (including 2003’s Diary of A Worm and 2005’s Diary of a Spider) as being a key catalyst (by tapping into my son’s sense of humor) in sparking an increased interest in reading for him. So when I found out about Bliss’ new book (for Françoise Mouly’s Toon Books), Luke on the Loose (“Luke looks on at the pigeons in Central Park, while Dad is lost in ‘boring Daddy talk’, and before you know it—LUKE IS ON THE LOOSE! He’s free as a bird, on a hilarious solo flight through New York City”, a story in which he handles both the writing and illustrating roles), I jumped at the chance to email interview him. My thanks to Bliss for his time–and to Ron Longe for his assistance in making this interview possible.
Tim O’Shea: You’ve worked with Françoise Mouly for years at the New Yorker–in terms of Luke on the Loose coming together, did she seek you out to work with the Toon Books imprint–or did you seek the publisher out yourself?
Harry Bliss: Francoise asked me to contribute to Toon Books and she is the publisher, so…
O’Shea: You’ve collaborated with several children authors, including Doreen Cronin, Kate DiCamillo, Alison McGhee and Sharon Creech. Were there any storytelling assets or lessons you took away from these collaborations?
Bliss: I learn many things from all the wonderful authors I’ve had the good fortune to work with over the years, mainly, how to integrate words and pictures. It’s really a dance, trying to pair up the text with the art, not simply illustrating the words, but to move the story forward visually. If something is not enriching the story/characters, then it needs to go. This was especially critical with Luke. The author and I went back and forth constant- wait, I wrote Luke! Sorry.