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The Graphic Entertainment Blog and Database

Updated: 2018-03-02T08:14:01.652-08:00




WHAT COULD HAVE BEEN: NYXTuesday, March 6, 2001So, ever wanted to see what a mature-reader version of Jubilee and other X-Men characters would have been like? Well, too bad for you, cause Marvel's not going to let Brian Wood's NYX get made. The planned mature-reader title would have centered around humans and mutants living in New York trying to get along and live a good life. The title would have stared Jubilee, Gambit, and Rogue in a series of out-of-continuity stories. It was to have art supplied by David Choe. But then Marvel decided that the title would not have worked and scrapped the idea.That's the short version of the story.The long version shows how a group of fans who are now angry at Marvel for not letting this great story idea get made. It envolves two creators who put a lot of work into their story, only to see it never get made.It started with an interview over at PopImage.Com with David Choe. When asked about what his upcoming project with Brian Wood would be, he said "The X-Men New York Stories. It's gonna be out in August under Marvel Comics new Mature Line. Wood's writing, I'm rocking the covers, and my boys from 38th street and the Crabshack Project will be taking care of the guts with my help. It's taking place in New York, and Rogue, Gambit, and Jubilee are the key players, that's all you get for now."But the following day Brian Wood posted a message on his forum, Wood revealed the devastating news. "In an interview at PopImage, artist Dave Choe mentions a Mature Readers X-book he and I are developing for Marvel. Shortly before this interview went live, the project was killed."The book was to be called NYX, a cute little abbreviation for New York X-Men. It was designed to be a real life drama, young mutants in the city, scrambling to exist. They weren't part of a team, or any sort of group. Some of them didn't even know they were mutants yet. They were just kids down on their luck, scamming to eat and to have a warm place to sleep. No costumes, no villains. Just survival."We were to mix normal humans in with the mutants, and explore that relationship. How do mutants and normals that aren't part of the whole Xavier/Magneto equation act around each other? If they are all living under one roof, depending on each other, how do their differences play out?"The main characters of NYX were: Rogue, Gambit, and Jubilee. Dave Choe and I created three other characters, normals, to round out the cast. Since this was part of the Mature Line and therefore out of normal continuity, we were given some leeway with the mutant characters. We were able to tweak their looks a bit, their backgrounds and histories, as long as they were still, at their core, Gambit, Rogue and Jubilee."I think the general impression was that we went too far and made them a little too "different", even for a Mature Readers title. In my mind I delivered just what I was asked for at the start, but the project was axed as I was writing the plot for #1."Now, this sucks. This was a truly special book, not only because of the non-Marvel creative team of me and Dave Choe, but because it was such an honest, real book. I wrote them as real as I could, drawing on personal life experiences, and those of friend's and family. This was a book about race and class and power, and about loss and sorrow and poverty. It was a love story, with Gambit and Rogue. It was about politics and anger and homelessness. It was everything I wanted to do with Gen X but couldn't. It was in many ways a "dream project" of mine. Dave and I were ready to kick out the jams with this. It would have been this smart, lush, painfully real look at what its like to be young and on the edges of society. I had such great plans for this book. We both did."I gotta thank Jenny Lee and Mira Lew, my co-editors who were involved in this, especially Jenny who spent seven straight days with me at the end refining and tweaking and really making a huge push to make this book happen. She was the one to break the news to me, as I can tell she is just[...]

Alberto Breccia + Mort Cinder


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Continuara: Alberto Breccia and Mort Cinder. from Roho on Vimeo.
Argentinean documentary about Alberto Breccia comic Mort Cinder.

Al Jaffee [unabridged] Interview by Dan Mazur


Mad about the man
By DAN MAZUR | November 18, 2010

Frank Quitely at the West Port Book Festival


This is a great (and recent) audio interview with Frank Quitely going over his eary career in the UK.
The fabled unpublished Lobo Story (The Hand to Hand Job) it's discused and how Grant Morrison it's the best writer for him and what he would like to do back at Marvel Comics.

Mystery Guest Frank Quitely
We were very chuffed to announce our mystery guest was the fantastic Scottish comic book artist Frank Quitely. He is best known for his frequent collaborations with Grant Morrison on titles such as New X-Men, WE3, All-Star Superman, and Batman and Robin, as well as his work with Mark Millar on The Authority. In this event in the book lined surrounds of Edinburgh Books, Frank chats with former editor of 2000 AD, author and screenwriter David Bishop.

Frank Quitely: Craft of Comics.


In The Comics Journal #300, Frank Quitely (We3, Flex Mentallo, Batman and Robin) spoke at length with Dave Gibbons on new innovations in creating comics digitally. Of particular note was their enthusiasm for Wacom’s Cintiq pen display which they had both used to great effect in their recent work.

In the following video, Quitely demonstrates how he uses his Cintiq to improve his workflow with traditional media and takes us through some of the preliminary steps in creating a cover for the relaunch of T.H.U.N.D.E.R. Agents for DC Comics (see the finished version above).

Lees’ “Craft of Comics” series continues on Wednesday, Aug. 11, with the first of a two-parter featuring Jamie Grant.
 via The Comics Journal

Read More for Video Interview, Part 2 Coming Tomorrow.

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Frank Quitely - Digital Drafting from Gavin Lees on Vimeo.
Artist Frank Quitely (Batman and Robin, We3) demonstrates how he uses a Wacom Cintiq tablet, taking us through some of the processes he discussed with Dave Gibbons in TCJ 300.

Please don't link to this video directly, rather link to the article in which it appeared on

That means YOU, Joe Gordon!

Cazador: Infierno en la Tierra


Después de varios años de ausencias El Cazador vuelve a ser editado. Personaje de culto por miles de personas a lo largo del país, este héroe Argentino ha sabido ganar admiradores a base de puteadas y peleas.Art by CovaYo por mi parte siempre he sido fanático desde chico. Creo que es algo histórico que vuelva a surgir esta revista que marcó una época para el cómic Argentino. Siempre compraba la revista apenas salia y lloraba de la risa al leerlas. Gran parte de mi forma de ser con las mujeres se las robé al Cazador. Es mas, me encantaría que el cazador diera clases de seducción! je! Por lo tanto no puedo esperar para tenerla de nuevo entre mis manos.El gran Jorge Lucas, creador del cazador hace casi 20 años, nos concedió una nueva nota como ya lo habia hecho anteriormente :Porque Cazador dejó de ser publicada?Lo que se llama la segunda época de cazador, la mas extensa, se dejó de publicar porque la editorial quebró, además que las ventas habían bajado mucho, ya sea por desgaste o porque habia una crisis de la puta madre. En la etapa siguiente tampoco rindieron las ventas y cuando paso la crisis del 2001 la editorial que lo editaba decide cerrar la revista, justo cuando habíamos hecho 2 capítulos bastante buenos, el de las torres gemelas y el del reality cómic, un reality con personajes del cómic argentino y extranjero, que era muy gracioso, pero bueno, la crisis nos pasó por arriba y el Caza se fue en el helicóptero con de la Rua, y todos nos fuimos al infierno, claro.Cuando comenzó a pensar en la vuelta?A partir que uno extraña al personaje, la gente lo pide, y es lo que más nos gusta dibujar.Al parecer sigue una dupla con Ramirez. Y los demás en que andan?Mauro (Cascioli) está trabajando para DC, lo que no quita que pueda intervenir cuando quiera, al igual que Ariel (Olivetti). Yo tenía ganas de dibujarlo y Claudio también, es lo que mas le gusta dibujar, en realidad a los 4 nos divierte dibujar Cazador, pero por ahora seremos 2. Sin embargo puede haber colaboraciones de los otros dos Cazadores en cualquier momento.Nos puede adelantar algo de lo que viene?Trataremos de enfocarlo más en la aventura, al estilo Cazador, pero con toda la mística que tiene el personaje, mas centrado en lo épico y lo oculto. La idea es que sea un arco de 4 o 5 números, una miniserie, en blanco y negro y de 16 páginas interiores por números más portada color. Luego se verá. Estoy preparando una especie de trailer, espero terminarlo a tiempo y estrenarlo en el sitio de Facebook del Cazador.Que expectativas tiene de la nueva era ?Las mejores teniendo en cuenta las ganas que teníamos de dibujarlo y encontrarle un guion que nos gustara dibujar. Es una aventura épica, casi al estilo de lo que fue la primer etapa en blanco y negro. Pero como siempre eso lo definirá la gente, nosotros pondremos lo mejor.Muchísimas Gracias por la buena onda Jorge! Si quieren pueden hacerse FANS del CAZADOR en facebook: a Jorge Lucas: de la nueva época:via Lord Pablo[...]

Spacegirl Vol. 2 [Travis Charest]


Latest Strip of Travis Charest Web Comic Space Oddysey: SPACE GIRL
via Travis Charest Gallery, Picasa

The Killer


The Killer, Volume 1The Killer, Volume 1  Written by Matz; Illustrated by Luc JacamonArchaia; $19.95As single issues, The Killer was a gorgeous, entrancing reading experience. Or rather, I imagine that it was. That was my experience with the two or three issues I bought before deciding to wait for the collection. The trouble was a sporadic publishing schedule and a story that didn’t really encourage a serialized approach. Issues were intimately connected with each other and there wasn’t much in the way of recapping from issue to issue. It was obvious that this was going to read much better in larger chunks. And so it does.The title character is a nameless assassin-for-hire who operates out of Paris. As the story opens he’s holed up in a hotel across the street from the home of his next target's girlfriend. The problem is: his target hasn’t shown up for nine days and the Killer’s getting restless. As he continues to wait, he recalls past kills and how he got into this business. Through his narration he reveals an honest, non-hypocritical attitude about his life. He knows what he’s doing isn’t nice and he doesn’t apologize for it, but he thinks you’re the two-faced one if you condemn him for it.Justification, complications, and James Bond after the break.Stir-CrazyIn his experience, he’s no worse than any other human and he’ll quote you the research to prove it. He knows about the civilian police force that killed 38,000 Jews during WWII. He’ll remind you about the endless massacres and genocides that spread over human history like cancer. He’ll gladly direct your attention to the sweatshops that produce the expensive shoes your kids are showing off with at school. But most importantly, he’s certainly not running out of clients willing to pay him to murder their relatives and business associates.He enjoys his work, but doesn’t relish it. He’s good at it and finds it an easy way to make money, but it’s not something he wants to do for the rest of his life. In fact, he’s already making plans to retire. He even has a nice beach house on the tropical coast of Venezuela. What’s remarkable about The Killer – besides the lush art, that is – is that it’s a character study first and a thriller second. Complications do arise from the Killer’s seemingly interminable waiting and the stir-craziness that results (he can’t even leave his room for fear of missing his target), but these would be standard crime-drama developments if not for how well the reader gets to know this man. I never sympathized with his career choice, but I learned to – if not like him – then at least feel sorry for him. This is just Volume One, but I hope eventually to see him achieve the quiet life that he wants in the wilds of South America.HomeMatz and Jacamon solidify this hope by giving us a glimpse of it. I hope I’m not spoiling things too much by revealing that the Killer’s nine-day wait ends in sloppy results and he needs to leave Paris quickly. Not only because the police are now alerted to his existence, but also to recover from the tension and stress of the last week and a half. Unfortunately, the police are quicker than he suspects and one resourceful investigator trails the Killer to Venezuela where the adventure continues in the crocodile-infested jungle. You can discover what happens there for yourself, but it leads to other complications and so the story progresses, leading next to the Swiss alps.There’s a real James Bond feel to the book, if Bond was more selfish in his motivations and didn’t quite trust M. But the focus on character echoes the best aspects of Ian Fleming’s novels and his ability to make me care about and respect a cold-blooded murderer. And the detail in Jacamon’s work reminds me not only of Fleming’s gift for description, but also of the movies[...]

Kent Williams


Blond Natalia in Studio Arrangement2010, oil on linen, 44×48 in., 112×122 cm.Poster for the exhibition in the vitrine outside the museum.1962, 2010, oil on linen, 62×56 in., 157×142 cm.ART FROM THE NEW WORLD: Group Exhibition | May 15 – August 22Private Opening Reception: Friday, May 14, 6:30 – 10:30pmOpens to public Saturday, May 1st and will be on view 7 days a week until the close of the show.BRISTOL CITY MUSEUM AND ART GALLERYQueen’s Road, Bristol, BS8 1RL, UKTel: +44 (0)117 922 3571Corey Helford Gallery, LA and Bristol’s City Museum & Art Gallery present Art From The New World– a big brash exhibition of the new American art scene.The exhibition features a collection of 45 new works by a diverse range of some of the finest emerging and noted living US urban and new contemporary artists, spanning the artistic spectrum from pop surreal to neo-figurative to street.To sign up for updates about this exhibition, as well as details of future exhibitions and events at the BRISTOL CITY MUSEUM AND ART GALLERY, email: contact Corey Helford Gallery at jancorey1@mac.comThe HYBRID PROJECT is a collaborative partnership between selected local artists and Peter Liashkov. Each participant is invited to select one of Peter’s life size silhouettes, drawn or painted on synskin (a translucent fiberglass paper) and then rework it in his/her own manner. The reworking can take the form of painting, drawing, printing, projection or sculpture.The first exhibition of these works was held at Blackgate Space in Silverlake, CA in the spring of 2009. In May of 2010 there will be a second exhibition of the Hybrid Project at the Avenue 50 Studio in Highland Park, CA. Kent Williams, Oksana Badrak, Craig Havens, Richard Houston, Nancy Kyes, Rebeca Mendez, Ramon Munoz, Miguel Angel Murillo, Trevor Norris, Pierre Picot, Francesco Siquieiros, J. Michael Walker, Ruth Weisberg, Ingrid Sydow, Pen Tsou, Poli Marishal, Marianne Sadowski and Carlos Flores have agreed to collaborate in this exhibition.Opening Night Reception: Saturday, May 8, 2010 from 7–10 pmExhibition runs May 8–June 6, 2010 RE-PRESENTING THE NUDE: Group Exhibition curated by John O’HernJuly 2–30, 2010 | Opening reception Friday evening 5 – 8 pmPrivate view on Thursday, July 1 | By invitation onlyEVOKE Contemporary130 Lincoln Avenue, Suite FSanta Fe, New Mexico 87501505.995.9902”The body and its senses are our tools for experiencing the world and each other. The ineffable energy that animates the body opens up worlds within and without.” John O’Hern is Santa Fe Editor of American Art Collector and Western Art Collector magazines and was Executive Director and Curator of the Arnot Art Museum where he originated the innovative biennial exhibitions of contemporary realism, “Re-Presenting Representation.”Email: ke@evokecontemporary.comVia Designaside � Kent WilliamsVia Kent Willams[...]

Frank Quitely (Scotland)


US superheroes with Scottish accentsBy Peter Murray BBC ScotlandComic book superheroes are usually thought of as being as American as baseball and apple pie. Yet some of the top writers and artists for DC Comics are working from a small studio in the centre of Glasgow.The angular spires and towers of a futuristic city dominated the skyline, even though the view from the window was of queues of Glasgow buses and taxis and the wrought iron exterior of Central Station.Early summer sunshine flooded in on the desk where Frank Quitely worked, poring over an outlined image of Superman jumping from a helipad onto a flying car.He is one of a team of writers and artists, based around a tiny studio in Glasgow city centre, who turn out dozens of titles for that most archetypal American product: DC Comics."I suppose from an American editor's point of view," said Mr Quitely, "my work doesn't look typically American."However, like the others in this prolific writing team - colourist Jamie Grant and story writer Grant Morrison - he is unwilling to put his finger on just what it is about their output which holds such appeal for US comic book readers.Bob Schreck, long-time editor at DC Comics, has no such reticence."It's all about good writing and storytelling," he said. "The Scots have a wonderful history of storytelling."He believes Grant Morrison - who may be better known to some UK readers for his more adult 'anti-hero' graphic novels, such as The Invisibles - is one of the greatest storytellers of his generation.Mr Schreck added: "Particularly in comics, but wherever he puts his mind to it, he'll just be the cream of the crop."He's like a cat. He hears things which the average person just can't hear and sees things the average person can't see."Frank Quitely pores over his art workAlong with Morrison, the work of some of Scotland's other great comic book writers and artists has been showcased at an exhibition at the National Library of Scotland.Names such as John Wagner, Alan Grant and Cam Kennedy have dominated the genre in Scotland for decades and have been at the forefront of what Mr Schreck calls "the European invasion" since the late 1970s.'Quirkiness'They began to work together on the 2000 AD and Judge Dredd comics and Alan Grant, who is now based in the Dumfriesshire town of Moniaive, said they began to work for the American editors almost by chance."We were working on a huge variety of stuff," he said."We were asked to start using pseudonyms so that the readers wouldn't know it was the same two guys who were writing all their comics. John and I ended up writing under 14 different names."He believes part of the appeal of Scottish writers and artists for the US industry is their "quirkiness and a weird sense of humour".He also pointed out that most of them had worked outside comics - from garage mechanics to bus conductors to ferry stewards.Writers and artists on their 'European' looking workBob Schreck agrees, saying: "There's a cliché in the industry, that American comic book writers watch film and read comics, whereas Scottish, British, European writers read books."It's a cheap shot, but I don't care where you come from on planet earth, if you're looking at the really great artists that came before you as a model, that's really going to show in your work."That allows you to do something new, rather than just developing a style based on someone 10 years before."As if to prove the point, Alan Grant and Cam Kennedy have recently made excursions into Scottish literature, adapting the Robert Louis Stevenson classics Kidnapped and Dr Jekyll and Mr Hyde into graphic novels.More, similar work is likely from the duo, but in the meantime Grant is slightly uncomfortable about attempting to pin definitions on what gives their work such classic appeal to American[...]

Todo el polvo del camino (Jaime Martin)


La semana pasada recogí una muestra de Todo el polvo del camino, editado por Norma Editorial.

Hasta que Dupuis empezó a editar mis trabajos, jamás había conocido una correspondencia de color tan fiel al original. Tanto Ce que le vent apporte como Toute la poussière du chemin son réplicas casi exactas (y digo casi porque se supone que la perfección no existe, ni falta que hace) a lo que yo había trabajado en mi monitor. Auténtico WYSIWYG: lo que ves es lo que obtienes.

Pues bien, lo que ha hecho Norma con este libro es muy, muy parecido a lo descrito antes. Se ha imprimido mediante tecnología CtP (Computer to Plate o Directo a plancha): el servidor de la imprenta genera una imagen que se imprimirá directamente en la plancha de impresión. De esta forma se elimina el paso intermedio de los 4 fotolitos por página que se requieren para generar un trabajo a todo color. Según los expertos esto redunda en una eliminación de posibles imperfecciones que se pueden formar en las películas.

Sin duda es la mejor reproducción a color que me han hecho en España en 23 años que llevo trabajando.

La encuadernación ha quedado inmejorable y el papel de la cubierta en acabado mate, como la edición de lujo de Dupuis.

Espero que lo apreciéis.


via Jaime Martin

Garo, 1992


Two years ago, I walked into my favorite bookstore one weekend and found something in the Japanese-language section that I’d never seen before: an issue of the avant-garde magazine Garo. It was 282 pages in length, printed in the usual manga-anthology size — think Shonen Jump — and the print varied between black and violet ink on newsprint, save for an eight-page photo spread by Gengui Numata at the beginning of the magazine (one of the few items actually identified in English), which was printed on thicker paper stock. Even if you don’t know the language, it was chock full of fascinating stuff, so I bought it, took it home and spent a happy two or three hours puzzling over its contents.I decided that it might be fun to discuss its contents on my blog, ¡Journalista!, under the reasoning that most of my readers probably hadn’t ever seen an issue of Garo, either, and spent the next week running scanned excerpts from the issue. (The posts in question: one, two, three, four and five. The excerpts in question are about a third of the way down each page.) It was a fun exercise. I knew next to nothing about Garo — still don’t, really — but each day, more knowledgeable people would pop up in the comments and do their best to fill in a few of the many blanks in the subject. After it was done, I put the issue on a high shelf and forgot about it.I’d always meant to assemble the various blog posts into a single piece and posted it to the website, but never got around to it until Monday, when Dan Nadel posted an excellent essay by Ryan Holmberg on the early days of Garo. It seemed an opportune time to finally do the job. Alas, our website is under reconstruction at the moment — the comment section for the old blog is on the fritz, and the fellow doing the work has more important things to do than to fix them just so I can post an article, so a certain amount of information has been lost for now.What follows, then, are are a series of short excerpts from this issue’s various features — obviously, I can’t reprint whole strips without permission, but I’ve tried to present as much as I can while still staying within the spirit of fair use. Please note that all images used in this little guided tour are ©1992 by the artists being excerpted. Remember that all comics read from right to left.The issue begins with a 50+ page section on Ohji Suzuki, who was one of Garo’s mainstays during the 1970s, and his work. There’s a series of pictures of Suzuki wandering around town at night, which were used to illustrate a ten-page interview with the man, plus a ten-page story by the artist, two essays and a number of comics by other cartoonists about his work. Here’s a picture of him from the magazine:The title page and three story pages from Ohji’s comic:Here are the first three pages from the Suzuki interview. Note that clicking on each image will open a larger version in a separate window:And here are the opening pages to two of the commemorative strips by other cartoonists in the Suzuki section which opened the issue:via The Comics Journal[...]

Monsters by Barry Windsor Smith


The story explores the life and times of two disparate American families fatefully connected by an abandoned Nazi project in genetic engineering that has been covertly revived by the US government. Told in a non-linear timeline spanning twenty years following the end of the Second World War, MONSTERS depicts the conflicts and intimacies of a diverse castof characters whose lives are destroyed by a malignant legacy from the Third Reich’s misguided quest for the perfection of mankind. A testament to the potential of accomplished graphic storytelling, the complex and compelling tale of MONSTERS unfolds through the nuanced, naturalistic dialog and drawings of master writer and artist Barry Windsor-Smith.MONSTERS is a work in progress, currently totalling nearly 300 pages.Publication information will be posted, as it becomes available.MONSTERS PREVIEW #1MONSTERS MONTHLY PROTOTYPE COVERS #1-5NEW! - MONSTERS PREVIEW #2COMIC LEGEND: Bruce Banner as a victim of child abuse was originally going to be a Barry Windsor-Smith one-off issue of Incredible Hulk in 1984.STATUS: TrueAs I discussed a few weeks back in an installment of Comic Book Legends Revealed, if you turn down a Barry Windsor-Smith project, he's going to re-purpose the pages (which is totally fair enough, of course, as they are his pages).However, what's particularly interesting about the origins of his current project, Monster, is what it would have represented at Marvel Comics had it been published when he intended it to be, twenty-six years ago.In an interview with Comic Book Artist, Windsor-Smith shared his July 1984 pitch:Plot centers around Bruce Banner's childhood. The Hulk relives a particularly harrowing day in his past.This is the story of Banner's working-class, middle American childhood. In a mannered fantasy - Twilight Zone - tradition, The Hulk, when entering an abandoned house in refuge from a pressing military attack, relives the last days in his childhood home.Thanksgiving Day 1950 was the day when his father, Tom Banner, a recent and embittered W.W. II veteran, turned on his family for the final irrevocable time.Employing a battered and disconsolate childhood as the springboard for the modern-day Bruce Banner's anti-social and violent attitudes, the story explores the damage caused by mismatched parenthood and effects of the Second World War on the heart and mind of the veteran Tom Banner.Bruce Banner, an 11 year old in 1950, is represented as the full grown, seven foot Hulk throughout this fantasy. The story is called Thanksgiving and details the tensions the Banner household suffers when it becomes apparent that the family dinner, planned with eight relatives in mind, falls apart as one by one, brothers, sisters and in-laws cancel the visit with feeble excuses.The truth is that Tom Banner has alienated his family with his explosive, argumentative temper.Windsor-Smith continues to note that he felt that the issue was important enough that he was going to do what he could to make sure the story could run as a single issue of Incredible Hulk - withOUT Comic Code Approval...It is of considerable importance to point out that this somewhat extraordinary story requires the use of what the comic book publishing world might consider profanity.The terms I need to use in the script (all spouting from the paranoiac and drunken Tom Banner) are actually mild when paralleled to other - perhaps more sophisticated - media such as film, print and (at this date) television.To cut to the quick: I need to employ the following terms:GoddamBitchHall (as in "Like Hell you will")SlutThese are comparatively mild terms, in my opinion. I've edited it down from str[...]

It's a Garo world


Dirk Deppey's find: A 1992 issue of GaroThere's an exhibit up at the Center for Book Arts in New York right now about the early years of pioneering Japanese comics magazine Garo. The other day I linked to an interesting essay by the curator of the show, Ryan Holmberg, that was rather surprising — I don't think most people think of it as antiwar propaganda for children, but that was the original intent.Anyway, the exhibit seems to be getting people's attention, and for the curious who would like to see more, Dirk Deppey has put up a monster post with many, many scans of a single issue, which he picked up in 1992 (long after the scope of the NYC exhibit). It's all in Japanese, but Dirk has some explanations (garnered in part from comments to the original blog posts). Set aside some time for this one.Still curious? Julia Rothman went to the exhibit and took some pictures for her site, Book By Its Cover. And here's an interview with a Garo editor.Via ROBOT6 Garo, 1992: Two years ago, I walked into my favorite bookstore one weekend and found something in the Japanese-language section that I’d never seen before: an issue of the avant-garde magazine Garo. It was 282 pages in length, printed in the usual manga-anthology size — think Shonen Jump — and the print varied between black and violet ink on newsprint, save for an eight-page photo spread by Gengui Numata at the beginning of the magazine (one of the few items actually identified in English), which was printed on thicker paper stock. Even if you don’t know the language, it was chock full of fascinating stuff, so I bought it, took it home and spent a happy two or three hours puzzling over its contents.I decided that it might be fun to discuss its contents on my blog, ¡Journalista!, under the reasoning that most of my readers probably hadn’t ever seen an issue of Garo, either, and spent the next week running scanned excerpts from the issue. (The posts in question: one, two, three, four and five. The excerpts in question are about a third of the way down each page.) It was a fun exercise. I knew next to nothing about Garo — still don’t, really — but each day, more knowledgeable people would pop up in the comments and do their best to fill in a few of the many blanks in the subject. After it was done, I put the issue on a high shelf and forgot about it.I’d always meant to assemble the various blog posts into a single piece and posted it to the website, but never got around to it until Monday, when Dan Nadel posted an excellent essay by Ryan Holmberg on the early days of Garo. It seemed an opportune time to finally do the job. Alas, our website is under reconstruction at the moment — the comment section for the old blog is on the fritz, and the fellow doing the work has more important things to do than to fix them just so I can post an article, so a certain amount of information has been lost for now.What follows, then, are are a series of short excerpts from this issue’s various features — obviously, I can’t reprint whole strips without permission, but I’ve tried to present as much as I can while still staying within the spirit of fair use. Please note that all images used in this little guided tour are ©1992 by the artists being excerpted. Remember that all comics read from right to left.The issue begins with a 50+ page section on Ohji Suzuki, who was one of Garo’s mainstays during the 1970s, and his work. There’s a series of pictures of Suzuki wandering around town at night, which were used to illustrate a ten-page interview with the man, plus a ten-page story by the arti[...]

Los Centinelas by Dorison + Breccia


RELANZAMIENTO DE "LOS CENTINELAS"La editorial Delcourt vuelve a mostrarnos que si hay algo que nuestros queridos vecinos saben hacer es vender sus productos.Esta vez aprovechando el relanzamiento de la serie "Los Centinelas" (Norma Editorial) reeditando el primer álbum y lanzando al mercado el segundo, han creado una página llena de información y "celofán": CENTINELAS VOL. 2 El hombre ha demostrado ser un virtuoso del color, sobre todo en aquella obra, Lovecraft, que hiciera para Vertigo. Cosa rara, que Enrique Breccia mas famoso por sus trabajos en Blanco y negro sea tan bueno en el rubro cormatico. Su obra mas recientemente publicada e inedita es Los Centinelas, que hace junto a Javier Dorison. La historia ambientada en una francia de la primera guerra mundial mezcla intrigas politica y algo de Steampunk. La verdad es que el primer tomo no es una maravilla a nivel guion, pero cumple y deja esperando mas. En Francia ya esta anunciado el segundo tomo, les dejo algunos adelantos para que los vean, mientras esperamos a que Norma edite lo suyo.More in FrenchMore in Spanish [...]

Black Hole in the real world


Photo by Max Oppenheim, make-up I can't look at very long by Bill Turpin
Photographer Max Oppenheim and prosthetics artist Bill Turpin's recreations of the 'yearbook photos' found in Charles Burns's teen-sex-horror graphic novel Black Hole are spreading around the nerd Internet like the teen plague itself. You can find a couple at the Fantagraphics blog, and a couple more at Boing Boing, and a few more at io9, and the whole set at The Operators. Oppenheim and Turpin created the images for British magazine 125, but they'll be on permanent display in my nightmares.

via Robot6

Black Hole: The Movie



A while ago I found a short movie called Black Hole, based on Chales Burns' homonymous comic. I assumed it was a student film, although the level of casting, acting and special effects was a little too high to be a student film, but I didn't dwell on it too much. Until the last weekend at the MoCCA Festival when I was hanging around the Boston Comics Roundtable with my friend Joel when I look up and there it is Charles Buns, I turned to Joel and asked him if he saw said Short and if I should ask Mr. Burns if he is aware of it. He didn't but after a split moment of my hesitation he was ended on  a very informative chat about the origin of this pretty well crafted piece of film.

Apparently Rupert Sanders was part of a unsolicited bid (with Paramount Pictures) to adapt this property to the big screen, it seems the studio invested a lot of money -as is apparently for the quality of the short- but ultimately there was some creative differences and they did not reach an agreement. Mr Burs was a little baffled on the availability of this short online, because Mr. Sanders does not own the rights to Black Hole and all this characters. After a little sideway conversation about pubic wigs we learned that the rights have expire several times and there is no sign of a real movie being made. So hurry and go enjoy this short film while it's available and explore what could have been, but make sure to read the Black Hole before you do, you don't want your story spoiled do you?

IGOR KORDEY [ Soldier X ]


(image) Soldier X #1

Even in a Nu-Marvel-era X-Men line that included Grant Morrison's New X-Men and Peter Milligan & Mike Allred's X-Statix, the Cable reboot Soldier X was a weird, wild, wonderful standout. Written by Darko Macan and illustrated by Igor Kordey, the series offered an almost absurdist take on the superhero concept, with a never-more-powerful Cable struggling with his methods and motives while tracking a super-powered Russian peasant girl. Though it's never been collected in trade paperback, the series has become a cult favorite, with writers like Joe 'Jog' McCulloch and yours truly praising the way it both explored and exploded the character and the genre.

Now you can find out for yourself what the fuss is about: Marvel will be rolling out the book's first five issues at its Digital Comics Unlimited site all week long, for absolutely free. Issue #1, which sets the scene, is already up. Give it a shot and let us know what you think!

via Robot6

Johnny Cash: I See a Darkness by Reinhard Kleist


Abrams ComicArts; 224 pp., $17.95; B&W, Softcover; ISBN: 9780810984639"A comic for me is something between a book and a movie. It can do all the good things in both media. If it is well done, you can even hear the sound of the music." — Reinhard KleistOn the opening pages of Johnny Cash: I See a Darkness, German cartoonist Reinhard Kleist's English language debut, a young, possibly strung-out Johnny Cash guns down an innocent man, then sits down and smokes a cigarette as the man fades away beside him. It's a striking interpretation of one of Cash's most famous lyrics from "Folsom Prison Blues" ("I shot a man in Reno just to watch him die.") and it sets the tone for the rest of the book. That tone, of course, is darkness, and as Michel Faber points out in his excellent review in the Guardian, "Kleist's imagination is fired by darkness." This is evident not only in the stark black-and-white images that saturate the book in shadows (Faber refers to it as a "220-page portfolio of inky expressionism"), but even in the choice of a subtitle – Will Oldham's "I See a Darkness," a song Cash covered late in his career .  Rather than a straightforward biography, Kleist's artistic goal is to capture the emotional experience of Johnny Cash's music in a visual medium. In an interview with Paul Gravett, Kleist explained that, "I wanted to give the reader a feeling of what I had in mind when I listened to his last albums." These "last albums" he's referring to are the legendary American Recordings, Cash's final five releases (a sixth is due this month) which featured quietly intense covers of some of the most haunting songs ever written, recorded in Cash's personal studio with producer Rick Rubin. These records were responsible for Cash's return to the summit of the music industry late in his career, and for introducing the legend to a whole new generation of music fans.Rather than "make music visible in a comic book," what Kleist actually accomplishes is adapting the underlying stories in some of Cash's most famous songs into mini-narratives. Thus, interspersed throughout are cartoonish episodes featuring Cash, a dashing young comic-book hero, seeking revenge against his long-lost father for naming him Sue, or foolishly getting himself killed for "taking his guns to town" despite his mother's pleas. These mini-strips work fine in terms of illustrating the underlying stories of each song's lyrics, and do a nice job of breaking the book up into sections, providing an overall sense of structure, but they lack any kind of noticeable pacing, panel rhythm, or other formal technique that actually conveys the sensation of music in the silent medium of comics.But Kleist is not an experimenter. The action is largely confined to traditional panels and the page layouts rarely venture outside of familiar grid structures. Kleist himself admits that "I'm not a big comic expert! When I am thinking of a storyline or a scene, my first thoughts are like movie scenes and then I try to translate them in the form of comics by using things like camera movements or cuts and so on. That is why my books often have a more cinematic approach and don't play so much with the possibilities of comics like other comic artists do, like Art Spiegelman for example."What makes Cash stand out from the pack, however, is Kleist's stunning brushwork. Time and time again throughout the book he captures, in swaths of black ink and gray tones, the essence of coolness that permeated Cash's persona. Kleist clearly studied hundreds of images of Cash and does [...]

Richard Corben: Entrevista


De Richard Corben se ha hablado mucho, y sin ir más lejos, hace año y medio en la blogosfera española celebrábamos los 40 años de Corben en el mundo del cómic, respondiendo al llamamiento del mismísimo Jeremy Brood. En Entrecomics le dedicamos algunas entradas, e incluso escribí un artículo al respecto para Zona Negativa. Pero en cualquier caso, no son demasiadas las ocasiones en las que hemos podido acceder a Corben en sus propias palabras. Por eso cuando, de nuevo, el compañero Jeremy Brood me propuso traducir la entrevista con Corben aparecida en Comic Book Rebels: Conversations with the creators of the new comics (Plume, 1993), un libro de entrevistas conducido por Stanley Wiater y Stephen R. Bissette, no pude decir que no. Brood me proporcionó la entrevista, se ocupó de ilustrarla muy adecuadamente y de proporcionar los pies de imagen. Los errores de traducción son todos míos.Creciendo en los años '50, ¿cuánto impacto creativo supusieron en ti los ahora legendarios cómics de EC? ¿Fueron una influencia primaria para tu desarrollo como narrador?Creo que es algo más profundo que eso. Eran grandes historias, claro. Pero también incidían en una necesidad o expresión fundamental que los chicos necesitan explorar a cierta edad y que necesitan resolver por sí mismos: explorar el significado de la muerte y todo lo que la rodea.Sobre tus influencias como dibujante, siempre hemos tenido la impresión de que eras fan de Jessie Marsh, el dibujante del Tarzan de Dell Comics, sobre todo por el modo en que dibujas los animales. ¿Conoces su trabajo?Si coleccionaba a algo, eran los cómics de Tarzan (1948-1965) de Jessie Marsh. Los coleccioné durante años, y era una de mis estrellas. Mucha gente no es capaz de ver ninguna conexión, y en realidad puede ser un poco tenue.Tarzan de Jessie MarshMarsh actuando en el subconsciente de Corben en Den Saga¿Fue Russ Manning una influencia de alguna manera? Pensamos en términos de la semiparodia del Magnus Robot Fighter (1963-1968) de Manning que hiciste en Slow Death #4 (1972).Sí, pero probablemente en menor medida. En cierto modo estaba mucho más formado como artista que Jessie Marsh, pero para cuando él se encargó de la serie, yo me estaba volviendo demasiado viejo para los cómics. Me alejé de ellos durante un tiempo.Magnus Robot Fighter, bautizado en España como Mangle Aniquilador de Robots¿Y qué te hizo volver a ser lector de cómics?Bueno, no sé si realmente volví alguna vez a ser lector de cómics. Volví a los cómics por algo que sentía como una necesidad para mí mismo: quería ser autor de cómics.Sabemos que has usado la escultura como método para visualizar mejor a tus personajes. ¿Ha sido eso siempre una parte orgánica de tu proceso creativo como artista?Bueno, eso se remonta a algunos de mis primeros esfuerzos. Hice cabezas de personajes porque al dibujar a un mismo personaje una y otra vez, desde distintos ángulos, la escultura se convirtió en una ayuda para hacerlo más eficazmente. Pero algo limitante, porque mis dibujos sólo eran tan buenos como mis esculturas O sea, eran el personaje, pero no siempre tenían aspecto de vivas.Bustos de Corben utilizados como modelos para sus personajesUno de los aspectos de tu dibujo que instantáneamente impacta a la gente cuando lo ve por primera vez es tu uso dramático de la iluminación. ¿Cómo lo desarrollaste? Bueno, creo que eso viene definitivamente de los cómics de EC. Muy evidentemente, probablemente, de Wally Wood. Si aprendí iluminación de alg[...]

Ming Doyle: Lost and Found


Got back from seeing a rather intriguing live theater event with faerykore and trapezzoid a few hours ago. It was a mashup of Shakespeare's Macbeth and Hitchcock's Rebecca called Sleep No More. The "play" was staged on 4 floors of an abandoned school house, with audience members free to wander around and explore all the elaborately and creepily decorated rooms. The sound design was mesmerizing and frightening, Vera Lynn ballads played on old gramophones with instrumental Silent Hill-esque interludes. Every now and then a cast member would come careening in on you and do a bit of interpretive dance before reeling out again. Definitely surreal, and very much like being in a real life MMORPG! It's playing through January 3rd, so I'd recommend it to anyone in the Boston area.Thanks for the fun invite, Julie! :)Okay, now how about some COMIC BOOK ART? Some noir, gritty, pulp comic book art which I drew for a story called "Lost and Found" written by the exceedingly talented and kind Eric Skillman? Things get pretty dire for our party kids by the end of the night. Find Eric Skillman at a con to read the rest of this hardboiled story! Eric also handled the colors for this story, and he made my line art look so good I nearly cried! I love the textures and flat tones so, so much.Oh, and one last neat thing. A young photojournalist from BU named Andrew Bisdale interviewed Kevin Church and me while we were sitting at our table during the Boston Comic-Con this past October. Check out the video below for some neat sound bites from several personalities at this cool, local show!via And She Was Like[...]

Ariel Olivetti: Entrevista


Como ya sabrán, Ariel Olivetti, el artista de Marvel Comics y dibujante de series como Cable, Hulk, X-Men, Punisher y Lobo estuvo en tierras peruanas la semana pasada como parte de la Feria del Libro Ricardo Palma. Ariel tuvo la amabilidad de dar un taller en el que compartió con jóvenes talentos y dio una charla el domingo en la tarde, en la cual tuve la gran fortuna de sentarme junto a él y conversar un poco sobre comics y su arte.También tuve la chance de entrevistarlo y entramos un poco más a fondo en lo que se refiere a su técnica, su proceso creativo y su pasión por el tango. Los dejo con la entrevista y clickeen aquí para ver la locura que fue la charla - ¡lleno total!Ciudadano POP (CP): Ariel, cuéntanos cómo funciona tu proceso creativo.Ariel Olivetti (AO): Bueno, primero recibo el guión en inglés y así como lo recibo lo reenvío a mi traductora porque mi inglés es pésimo y a los 2 días más o menos recibo el mismo guión traducido en buen español. En este punto empiezo a trabajar con lo que es el diseño de página. Armo dibujos muy chiquitos y muy a mano alzada del tamaño de cada cuadro y del tamaño que van a ocupar en la página. Después ya hago una página más grande de lo que va a ser la figura dentro del cuadro, la dinámica, la disposición, dónde va la cámara y este boceto que le llaman layout, lo envío a mi editor para que lo corrija.Una vez que lo corrige, trato de hacer el layout con las proporciones más sueltas posibles para escanearlo, agrandarlo a tamaño de página Marvel y finalmente lo imprimo en azules claritos. Lo que esto me da es un boceto muy suelto en tamaño original y sobre esta impresión en azul es que trabajo con el lápiz final. Trato de hacerlo muy limpio, sin mucho tramado, muy lineal y una vez que tengo el lápiz terminado, introduzco fondos generados en 3D. Al final, lo escaneo y lo paso a photoshop. Ahí tengo un ayudante que separa los canales o las máscaras de distintos colores en todas las páginas. Todas las pieles por ejemplo van en un canal, toda la ropa azul va en otro, la roja en otro, etc. Este es un trabajo bastante arduo y una vez que está terminado empiezo a trabajar lo que son los volúmenes: las luces, las sombras, todo absolutamente en blanco y negro. Una vez que está terminada la página total en blanco y negro, como ya tengo los colores discriminados, lo único que tengo que hacer es decidir qué color darle a cada gris que tengo pintado. Hay una función en photoshop que se llama colorizar y esto me da la facilidad que si el editor sugiere algún cambio, lo puedo hacer bastante rápido.Cuando todo está terminado en color, lo envío a una carpeta de FTP de Marvel. Ahí termina la primera etapa del trabajo con Marvel. La segunda es... cobrar (risas) porque nosotros vivimos en Latinoamérica y recibir el cheque, ver cuándo lo recibes y cómo lo cobras es toda otra historia.CP: (risas) Hablando de la edición, me imagino que tienes que enviar tu trabajo a un editor que lo apruebe ¿no? ¿Qué tantos problemas puede encontrar uno con un editor? ¿Existen conflictos frecuentes?AO: No, no. A estas alturas no. Si te refieres a estilos o a cómo encara uno el trabajo, no. Siempre que te recomiendan es en buena onda. Lo que sí hay son sugerencias y si bien pueden molestar al inicio porque hay que volver a hacer el trabajo, por lo general en el 99% de los casos, tienen la razón. Una vez que uno hace esos cambios, se da cuenta que el trabajo final es[...]

Yoshihiro Tatsumi: The Drifting Life


(image) El portal ANN se hace eco de lo publicado en The Business Times según lo cual las productoras Infinite Frameworks y Zhao Films adaptarán a la pantalla grande Una vida errante (Gekiga Hyôryû), primera de las auobigrafías de Yoshihiro Tatsumi. El presupuesto inicial ronda los 2 millones de dólares y la película será rodada en blanco y negro y en idioma japonés. Astiberri publicó la obra al completo en 2 volúmenes durante los meses de octubre a noviembre.
Yoshihiro Tatsumi no es sólo uno de los pioneros en el manga para adultos, dado que fue uno de los primeros mangakas en acuñar el término gekiga (hoy en día un subgénero de seinen manga), sino también uno de los primeros autores japoneses en ver editada su obra en español. Varias de sus historias fueron publicadas en la revista El víbora de la editorial La cúpula y la misma nos deleitaría con varios volúmenes recopilatorios (¡Qué triste es la vida!, Mujeres, Infierno, Goodbye) y antes de que Astiberri tomara el relevo también pasó por manos de Ponent Mon (La gran revelación, Venga, saca las joyas).

via Mision Tokyo by (mimotaku) on 12/5/09

Marcos Martin Interview: "Líneas de trabajo"


Ayudaste a Javier Pulido en el último número de Robin: Año Uno. ¿Necesitaba la ayuda de alguien debido a la fecha límite de entrega?Sí, no podía entregar a tiempo ese último número. Basicamente eso es lo que sucedió. Querían a alguien que pudiera copiar más o menos su estilo. Querían que hubiera la menor diferencia posible entre estilos y Javier pensó que yo podría hacerlo. En aquel entonces yo necesitaba el trabajo, dado que había pasado bastante tiempo desde mi trabajo anterior, pero también estaba esperando un encargo por aquel entonces. Esperé aquel encargo durante medio año. (…) Tomé el trabajo en Robin para ayudar a Javier con el número. Nunca he pensado en ese número como mío, en realidad, porque tuve que copiar su estilo y… o sea, mira las páginas. Son horribles (Fiffe ríe). Pero mucha gente me asocia con ese cómic, del que en realidad yo no formo parte. Sólo hice esas 18 páginas, pero en realidad la totalidad es de Javier… él trabajó muy duro en esa serie y se merece todo el crédito. Es su niño.Seguir Leyendo...Un trabajo es un trabajo, ¿no? No parece que estés muy orgulloso de ese trabajo.No, no de ese trabajo. No recomendaría a nadie algo así, pero en aquel entonces necesitaba el trabajo, así que lo hice. Esa es una de las razones por las que no estoy orgulloso de él. De alguna manera me ayudó, porque me obligó a dibujar en el estilo de Javier, y eso hizo que me diese cuenta de me había mantenido alejado de lo que realmente quería ser. Si te fijas en el trabajo que hice antes de Robin: Año Uno, llegué a un punto en el que, por primera vez en mi vida, dudaba de mí mismo. Pensaba que a los editores no les gustaba mi trabajo. Por primera vez empecé a desarrollar una inseguridad dobre lo que quería hacer, el estilo que quería adoptar y lo que quería conseguir. Así que lo que hice fue tomar el camino fácil y simplemente sobrepasarme con el acabado. Ya sabes, poner más líneas. Si te fijas en la historia corta que hice con Brian K Vaughn [Gotham City Secret Files #1] y el número de Robin [#81] antes de eso, había un montón de líneas y trama manual… básicamente porque me sentía tan inseguro que pensé que esa una forma de al menos asegurarme de que conseguiría otro trabajo.(…) En lugar de pensar en lo que yo quería hacer, empecé a pensar en lo que el editor quería que yo hiciera. Lo que pensaba que nunca haría. Es gracioso, cuando miro atrás y me doy cuenta de lo que estaba haciendo, pero necesita conseguir un trabajo. En cierto momento creo que dibujé entre 60 y 70 páginas de prieba y luego me di cuenta de que no había manera de que desarrollase mis habilidades más allá simplemente haciendo páginas de prueba. Llegas a un punto en el que no vas a ninguna parte haciendo eso y necesitas conseguir auténtico trabajo. Necesitas trabajar a partir de un guión real y ver tus errores impresos para aprender más y avanzar. Y entonces es cuando llegué al punto en que antepusepuse lo que pensaba que quería el editor a lo que yo quería. Entonces llegó el cambio de estilo. Y cuando hice Robin: Año Uno redescubrí lo que quería hacer cuando me decidí a ser dibujante de cómics.Michel Fiffe realiza una larga entrevista a Marcos Martín en The Beat. Traducimos aquí un pequeño fragmento.Batgirl: Año Uno seguía ligeramente la tradición de Batman: Año Uno en lo que se refiere al tema. Sin embargo en [...]