Available for free
hereabouts.
The latest, and in my opinion strongest, issue to date. And I don't say this merely because of the bulk of material from me in this one. Two feature interviews, nine assorted reviews of different comics, mini-series, and graphic novels, and my review of Sandy Plunkett's new art book (which I already re-presented
here separately). I had also arranged for the A.N.A. Comics Anthology to be reviewed as well, seeing as how I had a story therein which I continue to be proud of. In completion of this vanity affair/attempt at fulfilling my archives, all final drafts submitted for each article are presented here in full, in the order they appear in the issue:
Interview With Peter Simeti
Peter, thanks for finding the time to speak with us. Let's begin with some background info for the readers- are you a North-Easterner by birth, or by fate? Did you attend university to do what you do at Alterna, or was it a culmination of years of the dedicated fanboy livelihood?
I was born in Brooklyn and have lived in New York my whole life. So I suppose I'm a North-Easterner by birth, haha. As far as running Alterna goes, it's a little from column A and a little from column B. I went to college for graphic design and have a Bachelor's in Fine Arts but I've always had a love of comics. Spending a few years as a graphic designer taught me enough to know that the only way I'd be happy in that field was to do something with it on my own. So in late 2006 I started Alterna Comics as a way to get my own work out there and in early 2007 I made it an officially incorporated business. There's been ups and downs, for sure, and the credit crunch didn't help at all, but at least we're still hanging in there!
I reviewed your graphic novel The Chair a couple of years ago. Was that really your first major work? And where the heck did the premise come from?Yep that was my first major work. Before The Chair, I worked on a lot of short submissions and stories as a letterer, colorist, and/or inker. The whole concept for The Chair was born from reading Arkham Asylum: A Serious House on Serious Earth and from the whole summer of 2006 fiasco with JonBenet Ramsey's "killer", John Mark Karr. I have always been interested in what makes people turn psychotic and if it was the culmination of events in one's life or if it is something innate that a particular person is just born with. I remember the topic compromised a lot of people's views on capital punishment and it seemed to be a unanimous agreement that a sadistic child-killer should be executed. Then when we found out that John Mark Karr didn't actually do it and he was just a different kind of psycho...well it led me down another road with the book. I really wish that such a tragic and unfortunate thing did not give me the inspiration to write a book, but I think it speaks a lot about the subject of capital punishment and the prison systems in the country. It's definitely true that an inmate can spend years and years, if not decades, on death row. If the convicted person actually WAS innocent, spending all those years in confinement would surely erase any if not most of what made that person a normal functioning, contributing member of society. So The Chair gave me a chance to explore a lot of different themes as far as what makes people tick and the choices we make that ultimately decide what kind of legacy we leave behind.
What surprises those who pay attention is the incredible diversity of materials put out through Alterna. Was that always your own agenda, or just how things settled into place? What genres of storytelling attract you personally, whether as a reader yourself or as an editor at large?I think the reason there's so much diversity at Alterna is because I've got a lot of diverse tastes, haha. I like pretty much any sort of genre of story, so long as it's interesting and has a unique voice. There were a few hiccups in the beginning at Alterna, because I also tried to go with books that I thought were more "mainstream" and that perhaps they'd sell better. Well, I was wrong. Our most mainstream books are the ones that happen to perform the worst for us, mostly because of the fact that there's a lot of other product out there similar to it and in turn - a lot that are also better. Not to knock any of the creators at Alterna, but we are all influenced by what has come before us and sometimes, what has come before us is just plain better. Nothing else to say.
So the biggest thing I look for when publishing any book now, is if it's got an original and unique voice of its own. Something that seems timeless but new all in the same moment. These are the books that are not just successful, but they also end up meaning something to the reader. They speak to them and relate to them in the same way that there's some people you meet that you become instant friends with, as if you've always known them. I want Alterna titles to feel like stories that were always "there" but just needed someone to bring them to life.
What influences you in what you do? Directors, musicians, mimes, etc?Haha, I guess mimes would have to be my greatest influence. They're magical. All seriousness aside, haha, I think just everyday life is a pretty big influence on me. Sure I've been inspired by other artists/creators - creativity and imagination are really infectious - but my writing is always influenced from things going on around me or things that I'm thinking about/are important to me.
My next book is actually very much influenced by things going on in my life - the book is titled "Hello, do YOU work here?" and it was inspired by the many crappy retail jobs I've worked in my life. It really is true that a lot of things that piss you off immediately, tend to be hilarious after enough time has passed - and with that, I decided to see who else was having a shitty time on the job. So the book reads like a bunch of friends sitting around venting about their craziest/crappiest day at work and it features complimentary art from over 20 different artists in the comics community. Quite a few story contributors are comics writers or artists, so this book is sort of like an ode to the wage slave in all of us.
What would you say have been the three biggest accomplishments for Alterna, thus far?Hmmm, I'd probably have to say attaining distribution, getting a book into FCBD last year that featured Jesus & Lincoln hallucinating on mushrooms... hahaha, and so far managing to stay alive in this ridiculously tough economy.
The last one though, our readers get all the credit for that one as they're the ones keeping us afloat. So a tremendous thank you goes out to them! As far as distribution goes, it's definitely hard to get distributed and we're fortunate to have those options available to us. As far as the FCBD book goes, it was like a dream come true to actually get a book into Free Comic Book Day. We had to take a break from it this year, but maybe next year we'll give it another go. We still have a couple hundred copies of last year's book, so if anyone is interested in getting a copy- let us know!
And Alterna does have good survival instincts, Diamond be damned. You are open to multiple means of distribution, from the website to Haven to downloadable copies of books at sites like DriveThru on now to the new gadgets popping up specifically for digital media. Is it difficult, for a man in your position, to stay afloat on the current research and trends? Do you keep an army of trained monkeys to help fill your voids?Speaking of Diamond, we recently had a huge error corrected that should start showing some improvement for us. We were having a lot of problems before with receiving re-orders (or lack thereof) and how they'd auto-cancel after about 3 weeks. This has finally been cleared up so hopefully we can start filling in those re-orders. We plan on launching a checklist/bookmark card that will announce that re-orders at local comic shops are guaranteed- basically saying that if you order one of our books at a shop (or if a shop were to order one) that they WILL receive that book. The back of the card will have titles and Diamond ordering codes for each respective book.
As far as whether or not it's difficult to stay tuned in to all the latest trends in comics- it's extremely difficult. I'm just really lucky enough to have a lot of collaborators that care about Alterna's books and creators. Dave Baxter and Hermes Pique at Robot Comics are among some of the few that have really cared about Alterna's titles and have helped us get into the Google Android, iTunes, and Kindle markets. 2010 should be a big year for Alterna and Robot Comics as they will be actually building an Alterna app for us on the iPhone that will allow readers to access all our titles and info on our titles. We're very fortunate to have such a great relationship with them and I'd fully recommend them to anyone looking to get into mobile comics.
Cameron Merkler at DCBService.com/Instocktrades.com has also been fantastic to work with and he's really cared about our books from day one. He works closely with us and even offers some great specials on his site in an attempt to help us sell more of our titles. I really couldn't ask for more, he has done so much for us. Lance Stahlberg at Haven Distribution has been great as well; I truly hope Haven can become as industry-known as Diamond has.
So although Alterna might be solely operated by myself, there's really so many hidden facets to it all that really help make things work.
I'm divided on this subject. One part of me sees the growth of technology and devices like smartphones and Kindles and e-readers, and I wonder if print really can survive. Another part of me sees the fact that there is nothing like a real book, plain and simple. Books have been part of human existence for hundreds of years in one way or another; I think a little technological advances won't really kill print media. At least not for several generations anyway.
While digital media is extremely cost-effective, it's not the same as MP3s to CDs or digital film to physical film. In both those cases, the end product and experience is the exact same, if not better. Both forms of media still provide you with the same listening experience and viewing experience, respectively. Whereas digital reading and print reading just will never ever provide the same exact experience. It's true that the world could eventually bleed out that nostalgic experience of "page turning" and holding a book, but it would rely on a much better economy than the one we currently have.
In order for digital comics to really take off and surpass print sales, I think we'd need something similar to the new iPad coming out, but was much more cost effective- say $100 to $200. In order for that to happen, I think we'd need at least another 10 years or so. I personally don't own an iPhone, kindle, or e-reader, mostly because of the cost of them. Books are definitely not an instant-gratification form of media, so I really don't see printed books going away anytime soon.
Right on. I hate reminding people that not everyone has the means or even inclination to even own a computer, much less a costly digital reader. Although, when the big wave of new video game systems came out a few years ago, it really didn't take long for their price tags to fall down a bit. But then again, there is always that new version just around the ever-looming corner, and always that compulsion to buy the latest thing. I just wish some of these folks who are so adamant that print is already dead could take into account the power of both the nostalgia factor and the collector's mentality. As crummy as the economy is now, the first comic book appearances of both Batman and Superman have each sold recently for over a million. That says something.
Now, where do you find your motivation? What hobbies and interests attract your time outside of writing and editing and publishing?I'm a huge hockey fan and I'm just getting into cooking too, so both those things take up my remaining free time. Playing video games also helps me to unwind; my XBOX 360 seems to do the job. My second biggest passion is definitely hockey though, I've been playing since I was about 10, although admittedly I don't play anymore as much as I'd like to. It seems whenever it's a nice day out, I've got a whole list of things to get done and when it's crappy outside, I'm absolutely free. Such is life, I guess, hahaha.
So what can we expect from Alterna in the next year? I know many of your creators manage store signings year round, but will Alterna be hitting anything on the convention circuit?
And is it true that Jesus Hates Zombies might be reaching its end? I mean, how fun are those books, really?To be brutally honest, Alterna in 2010 is sort of in limbo. The credit crunch devastated our business and the ability to get any kind of financing our way. It's impossible to grow a business when you just plain can't, and we're really hanging on the skin of our teeth right now. What makes it worse is that it's not a time to take risks for anyone, so that has also been affecting us. We're doing all that we can to stay alive in this market but I'm not going to sugarcoat it, it's been brutal. It really has.
As far as hitting the convention circuit goes, I think this will be the first year that Alterna as a whole, won't really be at any conventions. Our creators will be doing signings and conventions here and there, but not really a large presence at any one show.
Jesus Hates Zombies is indeed coming to an end, BUT, the adventures of Jesus and Lincoln are definitely not ending. There will be an ongoing series of sorts featuring the two of them, can't give away details right now as that would spoil the end of the JHZ series, but it's definitely time to end Jesus' zombie killing days. The books have been a ton of fun and I hope they can remain a staple of the Alterna lineup of books.
Well Peter, thank you for being so frank and open about all things Alterna. I really do believe that your catalogue has something for almost everyone. Any closing comments before we telepathically force each and every reader to see for themselves who exactly Mr. Scootles, Adam Wreck, and Polly and Handgraves are?I guess all I've got to say is... Viva la comics!
Learn more at
http://alternacomics.com.
Javier, you are clearly very passionate about Art in general, and comic books in particular. What was the very first comic you remember reading?
Hmm. I wish I could have a hypnotist actually take me back in time to the exact first comic book I read! What happened was when I was a young kid, about 8 years old or so, my older brother Albert had given me a stack of books he had collected. He bought comics for about a 2-3 years, from around 1969-1971. So the first comics I would have read included Amazing Spider-Man #87, where Peter Parker, under a flu-induced fever, reveals his secret identity to his best friends! Also in that batch of comics was Detective Comics #400, featuring the first appearance of Man-Bat. Basically I read lots of classic Marvel and DC Comics from that period. Kirby, Romita, Gene Colan, Neal Adams, Steve Ditko AMAZING SPIDER-MAN reprints from Marvel Tales. And of course, those books, with their amazing display of art and fascinating superheroes, had me completely riveted from panel to panel, page to page, issue to issue.
By 1975, I made my first comic book purchases. And the first book I remember buying was MARVEL TEAM-UP #37, with Spidey and the Man-Wolf. The stunning cover by Ed Hannigan & John Romita burned such a strong image in my brain. It's hard to explain, but to a kid, to be able to actually buy my own comic books, was such a thrill. Slowly spinning the rack around, eyeing the various covers on the racks (this must have been where the term 'eye candy' came from!), and picking up a shiny new copy....Man, those were the good old days!
I know that, over the years, you've hosted workshops and seminars on how to make comics and art, but did you yourself receive a collegiate art education, or was it just straight passion and drive alone?I did go to college, but I was the worst disciplined student. All I wanted to do was art! I actually did really good in classes like philosophy and psychology, but I was really unfocused in the math and sciences. So what happened was that I had a very lopsided education. Heavy on the art, bad student in the math/science departments.
But as far as the art classes, it was really one teacher, Mr. Richard Lopez, who really provided me with what I now see as probably the whole impetus for my life as an artist. One day in our Life Drawing class, he was walking around the class, looking over our shoulders and offering comments. He stopped by my easel, as I was drawing with a piece of charcoal in my hand, building the figure with bold strokes. "You've got a really expressive style", he said. "Don't let anyone ever change that".
At the time, I was obviously very glad to hear his compliment. I kind of thought it a little odd that he warned me about 'them' trying to change my style. That was about 25 years ago, and like I said, I think I've always been driven, as an artist, as one who creates expressively, from an emotional experience. Refined techniques, polished work- that's never really been my end goal. It's the creation of the piece, the immediacy of forming the idea in my head, and trying to get that onto the paper as quickly, as directly, as possible.
The part about not letting 'anyone' change my style? Well, over the years that's just become a core principle of mine. Stick to my guns, just create the way I create, and move on to the next piece. Sure, I always try to see where I can improve, and valid insights from people I respect can always improve my work, but trying to fit someone else's idea of how I should try to create my work? That's not gonna really happen.
As for learning how to create comics, that just came primarily by 'learning' from the comics themselves. Imagine a faculty staffed with Jack Kirby, Steve Ditko, John Romita, Ross Andru, Gene Colan, John & Sal Buscema, Stan Lee, Gerry Conway, Steve Gerber, etc. And all it cost me was a couple of bucks a month. Comics were 25¢ a piece when I started buying them... Oh, I remember those days. They say that the rising costs of comics can be blamed on production values, on the costly tools and programs needed for making traditional comic books in our modern age. As a longtime self-publisher, do you feel that grassroots efforts still have a place in the greater scheme of things? Has the process grown any easier over the years, from your perspective, or does the cost factor push more folks away from seeing their dreams through?The internet, as they say, has been a complete game changer. Just ask the music business, or what's left of the newspaper business! There's probably never been a more direct way for comic creators to get their work out to the public than with the modern web comic. You can spend your morning drawing it on your computer, letter it, then post it online by the end of the day! Digital delivery is clearly the way things are moving, and at an ever increasing pace.
Having said that, their are, interesting enough, new options for printing your book in this day of digital downloads. Print On Demand, where you can print exactly the number of copies you need, has been a life-preserver for many DIY comics creators. I still draw and ink my comics by hand with a pencil and brush, then I scan it into the computer, digitally letter it, then prepare the files for whatever printer I'm going to have my book printed at. So in regards to the actual production of the comic book for print, things have gotten easier for me.
As far as any grassroot efforts still having a place in an artist's overall gameplan? I'd actually say that for independent creators like myself, grassroots marketing and branding and networking really is the only way to make it. By grassroots, that means going full ahead with the entire internet at your disposal. Personal websites, social networks (Twitter, Facebook, DeviantArt, etc.) and even podcasting/vidoecasting are ways to reach the world from your desk in your studio. And of course, I still balance that with various live appearances. And I'm not just talking about comic book conventions, but also speaking at libraries, signing at bookstores, exhibiting at art festivals and participating in gallery shows. There's something rewarding, for me at least, in going out and meeting new readers and making new friends face to face. It's good to get away from the art desk once in a while and do some work in the field.
What's the craziest thing that's ever happened to you on the road?Ah! Tales on The Road!
Okay, lots of ways to go with this, but here's a doozy. A few years ago, I was up in the Bay Area for the APE (Alternative Press Expo). I was staying at my friend Rhode Montijo's place in Oakland for the duration of the show. Well, come Monday morning, I was ready to head back to LA. I said my good-byes, and drove down to the corner AM/PM to fill up on gas. Got out of the car, tossed some trash away, went inside the store to use the restroom and pay for the gas. Once I got back into the car, something made me check for my envelope of cash, all the money made during that weekend.
Well, turns out I couldn't find the envelope! Looked around the seats, checked my backpack and luggage, checked under the car. Then I went back in the store and checked the bathroom. Then I started to check the entire floor of the store, trying to retrace my footsteps. By now I had that sinking feeling that I lost my entire weekend's take! Not only was I demoralized about that, but even moreso because it was money I made while talking to fans who were there to support me. Sounds corny as hell, but I felt it was their money that they gave to me in trade for the work I had done in creating El Muerto and making my comics.
Well, I went back to the car, looking once again through all my bags and boxes! Panic time, really. I went back in the store at least once more, before I called my friend Rhode. He drove down to the store immediately and started helping me look for the money. I knew I had left his home with the envelope, but where the hell was it now? At that moment, a car pulled up beside mine, and parked. Meantime, Rhode had been looking around the gas pumps, while I was ready to write the whole weekend off as a fiasco.
Then Rhode comes walking back to the car, with his hand outstretched. He had found the envelope, with all the cash, in a trash can! I had thrown the envelope away with some of the empty cups and trash in my car. We walked back to my car, amazed at the whole situation. The man sitting in the car next to mine opened his door and stood. He was an employee of the AM/PM, having arrived a few minutes before his shift began. I went up to him, sharing with him the whole ordeal. I told him I was up here at a show selling my art, and I lost the money, then we found it, etc. He looked at me and told me "My friend, you're lucky", as he pointed skyward. I'm guessing he was from India. "God helped you find your money. You work hard for the money," he said, a warm smile across his face. I gave him a firm handshake, telling him "You have no idea how hard I worked for this money, sir! Thank you, and thank God".
Like many things since I started self-publishing, this moment seemed like something out of a movie, complete with a little moral at the end! "You work hard for the money" could be the mantra for so many cartoonists out there busting their backs to strive to get their work seen.
I know most comic readers know your work from el Muerto, but was he really your first stab at comics? I remember seeing mention somewhere of a sort of Latino answer to the Justice League...Yeah, when I was originally thinking of creating my own comic, I was toying with the idea of doing a team book. I based the characters on different aspects of Latino culture, and I think I had about 4 or 5 characters. The ones I remember off hand were an Aztec star god, another was a Mexican wrestler (masked, of course!) and one was based on the Dia de Los Muertos folklore, El Muerto.
I never actually plotted out a story for the team, but I spent months just coming up with visuals. But I realized more and more that I didn't want to create a straight on superhero team book. First of all, there's too many characters to draw! But really, I wanted to focus on a single character that would allow me to focus on personal, character driven stories. At the time, books like Mike Allred's MADMAN, James O'Barr's THE CROW, Eisner's THE SPIRIT, and others, really appealed to me. The idea of an artist both writing and drawing a solo character, that was what spoke to me in the end.
So, I started concentrating on the el Muerto character, making very minor modifications to his look. The mariachi outfit he wears today is pretty much the same one I came up with originally, but I did make adjustments to his facial markings. I always thought it was interesting that what started out as a character in a team eventually found life as a solo character. It's as if somehow El Muerto, he reached out from those early group sketches and called out to be my main character.
Since I had the visuals pretty much finalized, and I knew what type of stories I wanted to tell, it was just a matter of 'reverse engineering' El Muerto to find out who he was, and how he got that way. Key to his creation was bringing in elements of Aztec mythology and the Day of the Dead folklore, as I never felt these two elements were ever fully explored in the popular media, especially comics. Creating a character that came from the same cultural background that I did was also very intentional as well. Not to get too political about it, but the whole 'assimilation' thing just never sat 100% with me. I don't need to hyphenate my Americanism to establish my identity, but at the same time, there is a vast richness to Mexican culture that I wanted to bring into my comic book creation. And injecting that into whatever part of the overall public stage I would occupy didn't seem like a bad idea either.
I agree with the untapped story potentials to both Aztec mythology and the Day of the Dead folklore, and I think many folks have rightfully seen the same in your work. Unabashedly embracing heritage and culture is really the only thing that can keep American heritage and culture alive and interesting. And again, the whole educational element- how it may well prompt some readers to further research on their own. El Muerto did strike enough of a chord with the right folks to garner a movie. I'm sure many creators dream of such a thing happening with their own works, but from your perspective- was the film something you always dreamed of, or something you had to be sold on? How long were you on cloud nine over the whole ordeal?Great point about American culture flourishing if we all keep the Great American Melting Pot well fed with mixed ingredients.
The film version of EL MUERTO wasn't something I was hoping for when I started my comic, but it was something I pursued once the opportunity came up. At least once I was convinced with the sincerity and integrity of Brian Cox, the filmmaker who first contacted me and ended up writing and directing the film.
Yeah, I'm still enjoying life after the film. Right now it's continuing it's rather lengthy run on cable, and I will get occasional phone calls or emails from friends and fans that they saw the film. I always figured that once the film was released, down the road it would be like the proverbial 'message in a bottle', in that folks would continue to find it one way or another. Just last night I ran into a local librarian and she told me that not only did she buy herself a copy of the DVD, but she also ordered one for the library. We'll be talking later about me doing something at her library.
One thing I made sure of when starting the whole process of getting the film made was to integrate myself into the whole process. Luckily, it was a small enough production, whereas if it was a large studio film, I may have been sent away to Palm Springs in a nice hotel and told not to come back until Opening NIght! (I once heard Bob Kane mention that about the first BATMAN film). Not only did I ask for a cameo, in a speaking role with star Wilmer Valderrama no less, but my director asked me to provide the illustrations for the opening credits. Our co-producer Susan Rodgers teased me about my cameo, "Javier, you've done enough by letting us make a movie from your comic. Isn't that enough?". I told her "No, it's not enough!". Some comic creators have no interest (or so they say) in exploring a movie adaptation of their comic. For me, it was one of the most rewarding life experiences I've ever had as an artist. And it's only one aspect of my artistic identity. I'd love to make a sequel, or even make a movie based on another comic book idea. But I love making my comics as well. Life's too short to only be known for one thing. And my creativity and ambitions aren't limited to only one medium, either. James Bond, Batman, Popeye...they've all thrived by expanding to different mediums from where they started. And creators like da Vinci and Dr. Seuss have worn several hats. As long as you love what you're doing, you have to consider yourself a lucky person.
And you absolutely do wear the multiple hats, in particular with the teaching. From hosting DIY podcasts to a wide range of public speaking engagements, you really seem to be placing more and more emphasis, as the years go by, on education. It's one thing to help paint comics in a better public light, but it's a true accomplishment to help kindle the creative flames in the younger generations. Who specifically has inspired you, influenced you, in this path?Years ago, as a 10 yr old kid, I attended a one-day workshop on making comics at a local community center. Well, it turns out it was less about making comics as it was a way for the instructor to earn some money sitting on his butt. The person teaching the class basically just sat at his table and gave us paper to draw whatever we wanted, he didn't provide any instruction! I don't remember if he provided some comics, or if I had brought my own, but all I did in that class was draw Orka the Killer Whale from the cover of AVENGERS # 149 (July 1976). Years later, when I decided I wanted to offer my services as an instructor for comics, I vowed to myself that I would design a curriculum where the kids would get an actual photocopied copy of the comic they drew. So in a way, we have that so-called comic instructor to thank!
I first started teaching these workshops as a way to generate additional income, and also because I knew that there would be a market for a comic creating class aimed at kids. So I think the inspiration for doing this was just seeing the young artists being guided into making their own comics, learning about the storytelling process that's unique to sequential arts.
Every time I had a class, I would be pleasantly surprised to see how natural it was for most of the kids to start drawing their comic, breaking their narrative into successive panels, and creating a story, page by page. That actually inspires me to do more classes, and really encourages me to make sure I can help more kids along by teaching them comics creation. A young artist has such a yearning to tell a story, to be able to assist them with that is tremendously rewarding.
As I mentioned earlier, since my brother really jump-started my whole love of comics and drawing, I figure I would be a lucky person if I could help spark some of that creative fire within any young cartoonist. And let's be honest, if you can make that an income-earning part of your skills portfolio, why not pursue it?
And the podcasts have been an extension of that for you, right? Now it seems like everyone and their Aunt Petunia has a show, but you've been at it for awhile, I know. Do you think that platform is just experiencing a particular growth spurt now, or are podcasts something that will continue to find a valid place in the information superhighways?The podcast I'm currently doing is called "JAVILAND: The Podcast of D.I.Y. Comics". It's basically a roundtable discussion between myself and a rotating group of independent comic creators/self-publishers. While it's not an actual 'How to draw comics' podcast, it covers issues to self-publishing one's own comic, as well as general issues related to being an artist, creating work that is both personal, and yet trying to find it's own commercial outlet.
You know, just when it seemed like everyone was doing a podcast, I started noticing more and more artists conducting their own videocasts, where they can draw on camera and talk to their audience! It's really an amazing time. With the technology relatively affordable, you can in essence have your own tv show, straight from the confines of your art studio. That's a mind-boggling game changer for those of us who grew up watching Johnny Carson, or, my personal preference, the "Gong Show"!
Blogging was the big thing, then podcasts, now live video-streaming. They're all great tools for us artists to help build our markets, and really establish a brand based on an artist being completely in touch with his/her audience. Along with the three venues I just mentioned, of course we have our own websites, as well as all the new online social networks, such as Facebook, DeviantArt and Twitter. As a kid, I remember Stan Lee 'talking' to me directly in his Stan's Soapboxes and the Marvel Bullpen Bulletins. Heck, Stan would even talk to us readers within the story, using his caption boxes to through us a wink once in a while. I think that those experiences as a fan, which I greatly looked forward to, really helped shape the reasoning behind me keeping such a constant rapport online with readers.
I know you are a big fan of the old Marvel comics, heck- we all grew up with Conway, Wolfman, Wein, Thomas, Gerber, etc. But in your opinion, what was it about those books from the 60's and 70's that turned out so many hardcore fanboys? And not necessarily unrelated- have you ever considered doing a book that would team up a bunch of your crazy characters- from the obvious el Muerto on to Elastico and Demolition Dove (my personal fave, for obvious reasons)? All of the classic team books and team-up stories from those days gone by all seemed to have the right mix of characters who shouldn't have reasonably "worked" together, but still...based only on the power of inspired imagination and stellar art...Man, you really hit that nail on the head. Why did those Bronze Age books generate so many die-hard fanboys? I'm thinking that one of the reasons is that since comics were so accessible to kids (both content-wise and physical availability), we were so enthralled with the stories and characters on a constant and intimate basis that they've always retained not only great story memories for us, but such deep sentimental feelings.
Speaking only for myself, I have such affinity for the Spider-man stories I read as a youngster from about 1975-1980, (this includes reprints of Stan Lee/Ditko/Romita plus books I bought off the racks myself: Gerry Conway/Ross Andru and Bill Mantlo/Sal Buscema) that the farther the stories got from the core, original run, say Amazing Spider-Man 1-200, I felt less and less inclined to follow them. I know that's not fair to the subsequent creative teams, but it's the honest truth on how I feel about my childhood favorites. As a sidebar, that's one of the appealing things about manga: Once the original creator is finished with the book, that's often the last you see of the character. The auteur point of view.
And you can't discount the fact that as a 10 year old, to read about the Jackal cloning Peter Parker's dead girlfriend, or Dr. Doom and Reed Richards having a brutal slugfest to determine once and for all who's 'superior' (FF #200), well, stuff like that gets fried on your brain. The 70s was such a complete experimental time in comics, at least at Marvel. HOWARD THE DUCK, TOMB OF DRACULA, THE HUMAN FLY, MASTER OF KUNG-FU, ROM. These were all very, very different from the Silver Age FANTASTIC FOUR or DAREDEVIL books. Even though these 70s books still had to more or less operate under the Comics Code, the sheer richness and variety of these titles was a total eye-opener for us youngsters.
To get to the second part of your question, I never really thought about taking those characters of mine you mentioned and putting them together, because they don't seem to me to 'exist' in the same universe. But when you remind me that we would see, for instance, Spider-Man and Dracula in a story together (GIANT SIZE SPIDER-MAN #1), or Dracula and the Silver Surfer (TOMB OF DRACULA #50), I have to reconsider! It's a great challenge as a writer and artist to make an entertaining story out of two supposedly different characters and their worlds.
I see a lot of the old comic book sensibilities in the inspiration of your characters. I didn't say this in my recent review, but el Muerto really has a strong Ross Andru vibe in the storytelling. Your tales of el Muerto have gone over well enough, with Diego even guest-starring in a newspaper strip (hopefully to be in the next collection?), as well as spawning the insanely cool Manga Muerto. How has the reception been to some of your more recent creations, like Man-Swamp and especially that controversial Demolition Dove- both of whom can also find some almost dynastic roots in 70's material as well, from Bernie Wrightson to the greatly missed Steve Gerber? And will we be seeing more of either? Please?One thing I want to say about Ross Andru, who was well into his long 5 year run on AMAZING SPIDER-MAN during the time I started buying comics off the spinner racks, the man was a stellar storyteller. He had such a flair for the narrative aspect of comic, taking your eye panel by panel into the story. His acting moments on his characters, the emotional expressions on their faces, they seemed so real in their actions and reactions. And it wasn't done through a photo-realistic style, but a stylized hybrid cartooning/rendered approach. I can't express enough praise about this man. I would like to think that I at least strive to keep my shots and narratives on an interesting level, but he's a true master of his craft.
Man-Swamp's gotten his share of kudos. Folks like the pencil art (I didn't ink the pages, just scanned the pencils directly and published them as is), and I'm sure they get the whole Man-Thing/Swamp Thing 'homage' I was going for. There's more story to tell for Man-Swamp, for sure. Problem with being a one-man operation is that you only have one person to assign the work to! That's not only making the comics, but production, convention appearances, and interviews like this!
Demolition Dove, which appears in a 4 page backup in MAN-SWAMP, has certainly wet people's appetite. My fault for announcing the character so early, about 2 years ago, before I could even get to the actual story. But that backup story I created, "A Tale of Two Parties" was done as a way of introducing the politics behind the character, moreso than a proper story itself. Demolition Dove, although once advertised as upcoming in a comic book, will actually now be released as a web comic. That's the immediate project I have on my plate, once I publish my in-production anthology comic book, COMIC POP. Which, by the way, will be publishing the Baldo/Muerto comic strip, as well as several other stories I've written or drawn for books my friends have published (Sonambulo, El Gato Crime Mangler). I'll also be reprinting my first ever comic book story, WEAPON TEX-MEX, from 1997, in COMIC POP.
COMIC POP sounds like a lot of fun! So when you're not super busy with the funny books and general creativity, what do you do to unwind?I read comics!
Seriously, so much of my time is used looking through comics, reading on the history and process of comic books and creators, addressing the multitude of things one has to as a self-published artist, etc. So many of my waking moments are focused on art/creativity of one type or another. But for me that's how I unwind. Or more like charge my batteries for the next round of comics or workshops or just learning about other creative people, and getting inspired. I've never looked at anything in art as a chore, or a task I didn't want to do (for the most part!). I don't watch any sports, so that frees up a huge amount of time. I'm actually a political junkie though, so I can spend several hours watching and reading about the latest political news, and it's endlessly fascinating to me to see how both the Left and Right spin it to their advantage. It's often more hilarious than frustrating.
I still watch plenty of movies, cartoons, comics, etc. But in my pre-publishing days, I'd be more inclined to read a 12 part comic series or several novels at a time. Nowadays, I'll buy a comic book compilation and often only read several of the stories (unless it's a specific story arc), or buy a DVD collection and perhaps watch several episodes of a season. It's just a matter of devoting more time to working on my own stuff.
There's always exceptions, of course. I can say that I recently watched all 5 DIRTY HARRY films from the Ultimate Collection, all three DVDs of the BLADE OF THE IMMORTAL anime, and all 13 episodes of the COMIC PARTY anime as well. So I still make time to enjoy work by others. There's always going out for a good meal with friends, too. Course, that often leads to stopping by a nearby comic book shop!
What about the future has you the most excited? From your own projects, or of the industry in general?In general, regarding the medium of comics, I'm most excited about seeing new work. Whether it's work by those who've already created comics, or people who are making their first comic book. My friend Grasiela Rodriguez is working on her first comic book. She's created her own animated films, and excels at painting in oils, but she's very excited about working on her first comic. And her excitement for it only increases my own anticipation for the book.
I think the rapidly continuing evolution of technology in the comics field is always worth keeping an eye on. Not only is digital distribution changing how, and who, reads comics, but the advances in technology are changing the way comics are made, and it's paramount to be aware of all these things. I see people go totally ga-ga over the new toys coming out, but I don't consider myself a tech-geek in that regard. I look at the ipad and the latest version of photoshop as more tools to toss into my art box. I want to continue to use the latest digital technology and a #2 Ticonderoga pencil in the same way: One that will help me make more art, and get it into more people's hands.
For myself, I'm looking forward to tackling my next comic projects, regardless if it's Demolition Dove, El Muerto or another story. Creating new stories with new characters, giving a reader a satisfying experience, that's exciting to me. I like to think of myself as the guy who does those one-man puppet shows for the neighborhood. You design the stage and all the characters. You write a script, and then you have to act out all the characters yourself, providing all the voices and actions. I love the totality of writing and drawing my own comic. And for some projects, I love collaborating with someone else as well, where a third voice is created by working with another writer, or artist.
Thanks for sharing with us, Javier.You're welcome, Richard. I appreciate your questions, and it's always fun talking comics. Reading new books, discovering old treasures, browsing through my back issue boxes, or making my own comics... For me, it's all about enjoying and celebrating the art, and fun, of comic books.
If any of your readers want to check out my stuff online, they can go to www.elmuerto.com or my blog www.javzilla.com.Comic Book Review: Aladdin #3by Richard Caldwell
(
http://nilskidoo.blogspot.com)
Aladdin: Legacy Of The Lost #3 (of 3)
Written by Ian Edginton
Illustrated by Stjepan Sejic
Lettered by Richard Starkings & Comicraft's Jimmy Betancourt
Edited by Renae Geerlings & Dave Elliott
Covers by Luis Royo, Clint Langley, & Clayton Crain
Published by Radical
http://www.radicalpublishing.com
the blurb:
The amazing conclusion to multi-Eisner nominated writer Ian Edginton’s retelling of the classic Arabian fable! With Aysa, the Djinn of the Ring, Aladdin seeks help from the Queen of Sheba, sorceress and ex-wife of the evil sorcerer Qassim. As Aladdin learns the secrets of his Aramaspi ancestors and their ability to rewrite the world through the power of the Dreaming Jewel – a vast diamond cleaved with nine million facets – Qassim draws closer and closer to victory and armageddon. It all comes down to this: the battle in the lost kingdom of the Aramaspi between Aysa, the fabled Djinn of the Ring, and her husband Rhaz, the all-powerful Djinn of the Lamp. Can Aladdin and Sinbad brave the secrets and perils of the Aramaspi lineage to rescue Princess Soraya and save the world?
Featuring covers by Luis Royo (Heavy Metal), Clint Langley (Sláine) and a special 1:10 incentive cover from Clayton Crain (X-Force).the three cents:Alright, so Aladdin has been wrongly accused of killing the king, and has gone on the run with Sinbad in order to rescue the Princess Soraya, only to be doublecrossed by the Mantis Queen. Qassim the sorcerer has also taken Aladdin's Djinn Rhaz, and is hellbent on using the ancient Aramaspi magicks to remake the world in his own image. Aladdin and company are caught between some mighty powerful forces now, dealing with beings older than civilization. Lots of great settings and big monsters, lots of swordplay. Lots of tough choices.
Edginton wraps this tale solidly, giving us an adult take on the Arabian fairytales while infusing it with a modern sense of high drama, action and adventure. Of course the heroes win at the end of the day (mostly, anyway), but these characters are now so fully formed, my only real complaint is in the desire to see their stories continue. Indeed, this entire mini series feels like a precursor for something much larger. There is just so much imagination at work here, such a great mix of horror and fantasy. This has been a wonderful escape for those reading along.
And with this issue we get the full-blown art of superstar Stjepan, whose storytelling is sharp and to the point. His design sense especially is so clearly at home with the fantastical setting and narrative. It's one thing to visualize a primordially Cthonic city, but another to fill it with such well-conducted violence and adequately mysterious atmosphere. His Aladdin and Sinbad are from the Errol Flynn school of heroism, his women are sexy, and the unearthly creatures and places all really come to life with such wonderful vigor. The images on every page are distinct and assured. Truly gorgeous stuff.
Packaged with Radical's now blessedly regular approach of jumbo story pages for your dollar, Aladdin: Legacy Of The Lost has been a fun ride. There is a whole world in this series, but never coming off as congested or overcrowded. No fragment or plot point or characterization is at all out of place. Much thought and design went into the series, as is quite obvious and cool, so it would be a shame if more folks looking for something other than capes should happen to pass this up. If you think you are familiar with Aladdin, Legacy Of The Lost bravely shines an awesome new light on the entire premise, detailing a story where magick is real and horrific, where people might in fact die, whether by mortal choice or by immortal acts. But more than anything else, this mini was absolutely a fun read.
Comic Book Review: FTL: Year Oneby Richard Caldwell
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http://nilskidoo.blogspot.com)
FTL (Faster Than Light): Year One
Introduction by Edward Kaye
Written & Illustrated by just about everyone
Designed & Edited by Ian Sharman
Cover by Riccardo Latina & Valentina Bianconi
Published by Orang Utan
http://www.orangutancomics.co.ukthe blurb:FTL: Year One collects together the first four issues of Orang Utan Comics' hit anthology series, FTL, into a single volume. Inside you'll find stories set in the future, the past, on other worlds; tales of vampires and heroes, monsters and men, and so much more! There is truly something for everyone in the pages of FTL: Year One!
FTL is Orang Utan Comics' flagship anthology series! Expect the very best quick fire stories in these pages, from some of the most exciting creators working in comics today. This is the comics anthology where anything goes! Vampires! Dragons! Robots! Ninjas! Knights! Vikings! Cheerleaders! You name it, you’ll find it in the pages of FTL!
the three cents:This king-sized volume is a collection of the first year's worth of issues of the FTL anthology series. While it takes obvious pride in sporting a wide range of materials- multi genre and even prose samplings and photography, it is in fact quite a mixed bag. Some of the stories fall very short, almost unprintable in my opinion, while other features really do soar. Such is the case with most anthologies, unfortunately, but FTL makes a fine effort nonetheless and, more often than not, follows through with entertaining results.
Of the more commendable efforts is Scapegoat, written by the always good Dwight L. MacPherson and illustrated by Riccardo Latina and Valentina Bianconi. Scapegoat offers a fresh spin on the "Humans versus Technology" yarns spun previously by the likes of Harlan Ellison and Frank Herbert and modernized in both the Terminator and Matrix franchises. What could have been a worthwhile mini series itself is presented here as an excellent opening for the FTL trade.
Another standout is Morgan McFee And The End Of Tomorrow, written by Ian Sharman (whose multiple trade skills touched virtually every story in the book, one way or another) and illustrated by the J. Scott Campbell-like Melissa Hudson. In this tale, the Buffy-esque McFee faces an enemy who is not at all morally in the wrong, compelling the heroine to make one mother of a tough decision.
My own favorite is the rather mythic Karachun, written by Trey Wickwire and illustrated by Olli Hihnala. A young boy faces life and death in this story of Olde European folklore perfectly told and ably rendered in every conceivable way, even in the gorgeous lettering by Amadarwin.
And also worth mentioning is Salvus, written by Steve Saunders and Josh Wagner and illustrated by Josh Mathus and Ian Sharman. A medieval observation that delivers more metaphysical philosophy in its few pages than most of the Vertigo titles have in years. Pretty pages, too.
As I stated before, there is a mix of fare to FTL. From crime fiction to slapstick superheroics, from dark fantasy to futuristic horror and even metafictional diatribes. But some of the features do fall short though, beit from embarrassingly weak plot points or from art seemingly torn from the pages of a preteen emo kid. For the most part, I'd say FTL has more hits than misses. And really, I absolutely love anthologies anyhow. If you yourself feel the same, then this one and its continued existence is certainly worth following up on.
Comic Book Review: Hotwireby Richard Caldwell
(
http://nilskidoo.blogspot.com)
Hotwire: Requiem For The Dead
Based on a story by Warren Ellis
Written, Illustrated & Lettered by
Steve PughBook Design by JD Roshell of Comicraft
Editing by David Elliott & Marie Javins
Published by Radical
http://www.radicalpublishing.comthe blurb:In the near future, the living and the dead share the same space. Known as “Blue Lights,” the dead are mostly harmless, roaming the streets as mindless drones. But when the Blue Lights start showing up as ghostly weapons of mass destruction, Metro Police has only one person for the job: She’s Alice Hotwire, Detective Exorcist. she’s the best there is at reining in the Blue Light beat…and she’s the only one who can save the city from certain destruction.
This deluxe trade paperback edition collects, for the first time, the four-issue miniseries in a special “director’s cut” edition that includes creator notes and early character designs that evolved into the Hotwire: Requiem for the Dead series. This edition also contains newly remastered tales from Alice Hotwire’s past, featuring never-before-seen pages written by Warren Ellis (Planetary, Transmetropolitan) and amazing newly painted artwork; an extensive gallery showcasing the evolution of the character; a spotlight gallery of artwork from celebrated artists Steve Pugh, Stjepan Sejic (Witchblade), Jelena Djurdjevic (The Immortal Iron Fist) and Garry Leach (Judge Dredd, Marvelman); an in-depth interview with co-creator Steve Pugh as well as a dust jacket showcasing an all new cover by Steve Pugh.
the three cents:Alice Hotwire, the futuristic Detective Exorcist, is a supernaturally-drenched science fiction epic. This trade, collecting the labor of love mini from Steve Pugh, finally introduces us to both Alice and her scary-strange world, where blue light ghosts are so common that science itself is globally called into question. To add to the fun, following a brutal police beating her city is in full riot mode and, to make matters worse, some unknown force has at last perfected a technological nightmare of a weapon called a ghostbomb. As the whole world seems to be falling apart, how can super keen and attitude-filled Alice solve the deathly mystery while keeping her department from being beaten by disgruntled Joe Q Citizen?
And this is Pugh's baby. The work initially began many years back and has apparently gone through a series of evolutions, keeping in step with the ever-growing skills of her storyteller. Though admittedly not a writer, Pugh turns in a tale full of action and intrigue and extremely well thought out characters, placing them in a setting wholly new while still bringing to mind vague allusions to the political landscapes of works like Akira. His Detective Exorcist Hotwire is far more realistic a trenchmouth lady than say, Tank Girl, and the massive degrees of thought given to what happens post life as well as to the repercussions that ghosts walking the streets openly might have on such realms as religion and society are...astounding.
Pugh is one of those artists possessing of multiple styles, each mature and self-competent. Here, he goes all out though, fully painted and digitally enhanced. Every face and form is unique, but the true eye candy is the stage the story is set upon itself, the vehicles and the weapons, the locations, the MANY fearsome presences both confused and murderous. Aspects of his designs are on par with the mindset of an electrified Clive Barker, but with the sci-fi smoothness of a William Gibson (albeit on crystal meth). This is simply, high high high quality stuff.
Hotwire is a creator owned work, the first for Pugh, though it also ranks as one of the more popular series from Radical- and for damn good reason. It's madly genius. The trade also includes a ton of extra goodies, from a gallery of alternate and unused cover images, notes from the creator's sketchbooks, an indepth interview explaining the behind the scenes history of the character of Alice, as well as retouched story pages (like I said- this is clearly labor of love territory). A finely solid package, and I sure as holy hell hope there is more Alice Hotwire to come.
Comic Book Review: el Muerto: The Aztec Zombieby Richard Caldwell
(
http://nilskidoo.blogspot.com)
el Muerto: The Aztec Zombie
Created, Written & Illustrated by
Javier HernandezSelf-Published
http://www.elmuerto.comAvailable directly from the writer/artist himself via the website.
the three cents:King-Size el Muerto #1
In this, the first collection of el Muerto tales from Javier Hernandez, we see the origin story of his unfortunate hero, Diego de la Muerte. Much of the material appeared previously in the form of mini-comix dating back to 1998, though the new stuff, including pinups and stories from such independent and underground wonders as Rafael Navarro, Michael Aushenker, Ted Seko, and Rhode Montijo all complete a fun and imaginative package.
Hernandez tells an inoffensively reader-friendly story here, with poor Diego's 21st birthday not going at all as planned. Struggling with the frustrations of modern living, he seeks out a good time through a Day of the Dead celebration only to find himself further removed from his loved ones than he'd ever possibly wish to be. Hernandez's art is nicely stylized, very comfortable and expressive. His love of Ditko is evident on virtually every single page, thankfully so. And, his knowledge of South American folklore is equally, marvelously self-evident.
A Latino-centric comic book, to be sure, King-Size el Muerto offers a welcome new twist on seemingly familiar archetypes. Frankly, while this might all sound a bit on the morbid side, there really is an awful lot of heart in the world being created here.
el Muerto: Mishmash #1
The second major collection of el Muerto stories, el Muerto: Mishmash again offers plenty of new material, including works from Rafael Navarro, Lisa Strouss, Bernyce W. Talley, and Ted Seko. Diego de la Muerte's strange metamorphosis continues, as he finds himself on the road headed south of the border and desperately looking for answers to the predicament changing his life so irrevocably.
Other features involve aliens, the debut of Manga Muerto (something that must be seen to be believed, and then you too can wish desperately for an animated series...), as well as a bit of biographical curiosity serving to better explain where all of this madness might have began.
Interestingly, and as testament to the skills of creator Hernandez, the format of this book gets a bit experimentative, with illustrated text pieces, a more extensive gallery, and a rather beautiful tribute to Jack Kirby.
Again, a fine effort from Hernandez and friends, shining new light on the spreading dimensions of a curious work. Comparisons to the Crow are clearly out of place by this point, although including James O'Barr among the impressive list of inspirational sources is not entirely implausible. I especially dug the cover, which was reminiscent of classic comic book packaging from days gone by.
el Muerto: Dead & Confused #1
The latest chapter in the continuing saga of the original Aztec Zombie, el Muerto: Dead & Confused is a much fuller tale, beginning the true nitty gritty. Indeed, the scope is pushed back surprisingly far with this one, with the young but dead hero Diego finding temporary shelter with a circus of freaks, while literal gods toy with his place in the greater scheme of things.
The art, while certainly more than merely adequate before, really shines with a stronger level of maturity in this comic. Comparisons to los Bros Hernandez (no relation) makes sense, but you also feel a sense of solemn respect for 60's and 70's era Marvel comics- in a very very good way. There are shots that look straight from the pen of the ever-mysterious Ditko himself, which from me is absolutely a compliment and absolutely deserved as such. In fact, with this issue specifically it is easy to see why there was a film adaptation of this comic series not too long ago.
The story of Diego de la Muerte does not end here by any means, but the final steps towards his eventual end is obvious. This is a wonderful premise, incredibly well executed. The magnum opus from a modern master that I highly recommend.
Comic Book Review: The Matriarch
by Richard Caldwell
(
http://nilskidoo.blogspot.com)
The Matriarch
Created by Robert Burke Richardson & Steven Yarbrough
Written by Robert Burke Richardson
Illustrated by Steven Yarbrough
Additional inks by Luisa Russo
Lettered by Richard Nelson
Coloured by Paul John Little & Guiseppe Pica
Book designed by Thomas Mauer
Edited by Kevin Hanna, Sean O'Reilly, Stefani Rennee & Stjepan Sejic
Published by Arcana
http://www.arcanacomics.comthe blurb:Career woman. Single mother. Superhero. Sherry Benning knew having a baby would change her life. She didn't know it would change the world.
As Leviathan City's star super-heroine the Matriarch, Sherry tries to balance work and home-life against a backdrop of friends, foes, and potential love-interests; aggressive alien thoughts made manifest deep within the earth; an entire army of monsters and villains; and a secret so startling it could mean the end of the world as we've known it...and the beginning of something entirely new.
the three cents:From right out of the gate. The Matriarch is a charming enough and engaging read. The character of Sherry is well-introduced, although some aspects of her past are left blank enough as to maybe generate interest for future tales (like what exactly happened to her husband). But we learn early on that hers is by no means an easy life, between raising her preteen son on her own and dealing with her own judgmental and overbearing mother, sweating full-time employment in the advertising field, and especially- her obligations as the star superheroine in her city. While she excels at all of these things, the balance would drive most folks batty. To her credit, she tries to maintain her humor, although some dark obstacles are thrown her way later in the story, making her life all the more implausible.
Richardson has some really neat ideas here. Without giving too much away, his take on the social lives of superheroes is fun, and his take on the effects of time travel and alien consciousness are clearly inspired. I do have a couple of gripes though, with his story. One being a sequence wherein a length of very New Age jargon rubbish is expected to pass for a philosophical dialogue. And the actual conclusion to the overall book could have been handled with a bit more clarity for my taste. However, as this book apparently leads into another Arcana title (Old School), then I hope certain aspects can be better defined elsewhere. Still, a light-hearted plot that's definitely aiming for cookie points in originality.
Yarbrough's work suits the narrative fine. Able to jump from illustrating the normalcy of a youth league soccer practice to things more bizarre, such as a drinking hole in the clouds and a walking junkyard...very commendable efforts. A lot of his linework reminds me of Cameron Stewart's earlier work at DC, which is certainly a good and complimentary thing. While some of the more out-there characters towards the end looked caroonishly inappropriate, all in all the guy knows what he's doing. He conveys some genuine heart where such is appropriate, which is more important a thing, usually.
Great lettering work from Nelson as well. I am becoming convinced that competent letterers are an endangered species nowadays, so when it looks and reads this good, I do notice. And the closet English teacher in the back of my head rejoices. Yes, an indy comic with no spelling or punctuation errors really is that rare.
The Matriarch, despite its color and enthusiasm, does have some dramatic touches. I think the writer really spent some serious time fleshing out so many little details to Sherry Benning, and it shows through in every step. While this is essentially just another superhero comic book, it is nice to see those human elements shining through in all the right places. The Matriarch is about strength, I think, more than anything else. Strength to wield a big fat troublesome heart. Check her out.
Comic Book Review: The Edge #'s 1 & 2by Richard Caldwell
(
http://nilskidoo.blogspot.com)
The Edge 1 & 2
Created & Written by Marvin Wynn
Illustrated by Vuycan Kiat
Lettered & Designed by Jaymes Reed
Colored by Goran Kostadinoski
Flats by Ruth Lim
Published by Ronin
http://www.ronin-studios.comthe blurb:Richard Tartabull is a member of the United States Special Units. A privately funded organization, which handles all abnormal situations (aliens, superhuman, and supernatural). Ellis Corrison was an agent in the United States Special Units. Ellis was an early test subject for the enhanced steroid THE EDGE. The results that were hoped for, was a mindless fighting machine. The true results of THE EDGE, an uncontrollable killing machine, whose lost family is his chief concern.
Two members of the strike team have fallen. Revenant is still on the loose. Team members Blain, Mystic, and Randa have another showdown with Revenant. Now it is round two of Blain vs Revenant.
the three cents:
The Edge is the continuing story of a strikeforce type of team that is clearly inspired by those extreme team comics that were so prevalent in the 90's. And I do not necessarily mean this in a bad or otherwise negative way. There is an interesting enough setup comparable to BlackWater here, of a corporate group with government ties and contracts, as well as with a mix of characters caught dealing with both the ramifications of their collective past, and their masters.
Unfortunately, the story is the weak link in the chain. The individual characters are not fleshed much in these early issues, even the bulk of the powers remain unexplained to the reader. Moreso, there are several tragically weak points in the plot, from failing to act as a highly trained group of covert operatives should conceivably act, to even holding a funeral for two missing members without attempting to search for said missing members. No bodies even. In fact, mere moments after the ceremony they learn that one of the two is indeed still alive and being held captive. Honestly, I dimly recall episodes of the old GI Joe cartoon from the 80's that were more cohesive and better thought out. But there were parts of this that had the plot elements and dialogue equivalent of a group of ten year olds running around somebody's backyard with towels tucked in the backs of their shirts.
But this is not a down review. The art is a saving grace. Very fluid, very manga-like, and with much consideration given to both form and direction. Kiat is somebody to keep your eyes on. The coloring and effects as well gave many scenes the look of a very attractively animated feature. And as usual, DigitalCAPS' own Jaymes Reed turns in another flawless typography job.
This is an interesting comic book in its own way, to be sure. Should the creative team elect to further pursue the cult subplot, as well as questionable acts from the Edge team's founder, then the mystery will add the right flavor for a work such as this. Generally, faster plot development wouldn't hurt either. There is potential to The Edge, and I will say it's one of the stronger offerings I myself have yet seen from Ronin Studios. All said, I'm still curious enough to pick up the third issue to see what happens next. Readable, in a sophomoric way.
Comic Book Review: The Last Days Of American Crime #2
by Richard Caldwell
(
http://nilskidoo.blogspot.com)
The Last Days Of American Crime #2 (of 3)
Created & Written by Rick Remender
Illustrated by Greg Tocchini
Lettered by Rus Wooten
Edited by Luis Reyes
Covers by Alex Maleev & Greg Tocchini
Published by Radical
http://www.radicalpublishing.comthe blurb:While trained killer Kevin Cash goes to retrieve an important component to the heist, his girlfriend Shelby seduces Graham Bricke, leaving the two to deal with their own set of problems. Meanwhile, left-for-dead gangster Enrique is looking for revenge along with two mysterious cops that are following their every move. But when Shelby is kidnapped by Enrique’s Mexican gang, can Graham rescue her before time runs out?the three cents:Set in a nearby future where the Federal Government has decided to make a couple of changes, one- rendering all hard currency null and void by transferring U.S. funds into charge cards and two- broadcasting the American Peace Initiative signal, which would render all violent acts and thoughts null and void as well. With the changes looming, the clock ticking away, Graham Bricke is desperate for one last big score, aligning himself with the super-dooper sexy hacker Shelby and the questionable but ace safecrack Kevin. As this issue demonstrates though, all parties have more than their fair share of secrets, of baggage.
Simply put, this is the finest work from the members of the creative team that I have ever read. Remender has crafted a brutal landscape, pulpy noir in the sense of smashed whiskey bottles as dialect piping through smoke-filled rooms and high speed car chases. These characters torture each other, as there really are no moral or ethical persons in the entire lot. While Bricke may be the core lead, he's an ex-con, ex-junkie, alcoholic brute. Shelby, as is generally the case with insanely attractive women, is insane, playing everyone in the field in a sick game to entertain her own drug-addled mind. And Kevin, her partner in crime, here is fully unleashed, wherein the reader gets to see a level of violence that would keep Bukowski up at night and give Freud enough fuel for a hundred lectures. Hard-headed players acting out a hard-edged plot in a hard-nosed world...THIS, is hard boiled as hard boiled gets. Excellently crafted.
Tocchini explodes on every page, his storytelling masterfully strong and his POVs more imaginative than the best action flicks that might spring to mind. Showing loose touches of inspiration from the likes of John Buscema to Travis Charest, his linework is beautiful, almost too beautiful for the ugliness enacted by Bricke and company in the story itself. Handling the full and lush art chores all on his own, the color scheme especially is so on the money you can smell the nicotine stains, the blood stains, the cum stains. I reviewed the first issue elsewhere before, and in it I said that Remender and Tocchini deserve some major award for this series. I still stand by that.
This is not a comic book for young readers. If you are offended by scenes of sex, drug use, extreme violence, etc, this is not for you. But for those of us who appreciate the realism, The Last Days Of American Crime is worth the money, and then some. This is my personal pick for the greatest mini of the year, no contest.
Comic Book Review: Hidden Disaster
by Richard Caldwell
(
http://nilskidoo.blogspot.com)
Hidden Disaster
Written & Illustrated by Erik Bongers
Published by the Luxembourg Publications Office of the European Union
http://bookshop.europa.eu
the blurb and the three cents:
Instead of an actual blurb for this one, in researching for my review I came across a number of what I felt to be excessively negative comments scattered about online, all to do with this work. So before I offer my take, I would like to include here some text from the graphic novel itself:
"Every year, events such as conflicts, droughts, earthquakes and floods trigger humanitarian crises in different parts of the world. Every year, millions of people find themselves without shelter, food, water or medical care. Helping the world's most vulnerable populations is a moral imperative for the international community. Wherever the crisis may occur and whatever the type of intervention required, human and physical resources need to be rapidly mobilised to meet the victims' vital needs while preserving their dignity. The causes of humanitarian crises are many and varied. They are often the tragic by-products of conflict or the result of extreme weather conditions. Sometimes national economic mismanagement makes the poor destitute and turns hunger into famine. Whether their causes are natural or man-made, such crises invariably bring great human suffering. The European Commission has a longstanding commitment to help the victims of such crises. Its Humanitarian Aid Department (ECHO) provides relief assistance that goes directly to people in distress, irrespective of their nationality, religion, gender, ethnic origin or political affiliation. Working with its partners in the field, ECHO acts swiftly to supply aid when disaster strikes and continues to help stricken regions even after the media spotlight and political interest has shifted elsewhere."
Now, that may sound a bit dry, but does it not present a solid argument and explanation for what the European Commission is about? And equally, this book reads as dry, as though the author were handed so many facts he scarcely had time for more human and personal twists in the story. But he does come mighty close. Here is a fictional account of a fictional catastrophe using fictional characters, and utilizing such to showcase the very real efforts of the very real agency in dealing with very real problems in the world. This is essentially a custom comic, but highly educational and in its own way, very dramatic in scope.
Bongers is a very clean artist. Actually, his inks in particular may have been too clean, leaving me to wonder if the scenes of devastation may have held more grit had the inks been more...unscientific. He is a strong storyteller though, creating a very serious comic book, and a very hopeful one, too. The tones and shades of his colours were especially nice and pleasing to the eyes.
While the general presentation may be somewhat different than what we usually find here in Western mainstream, the impact of the story and the adequacy of the visuals are all quite acceptable. This is worth having on your shelf, especially after realizing that these folks are giving the book away for free. Now where's the harm in that?
Comic Book Review: The Regulators #1
by Richard Caldwell
(
http://nilskidoo.blogspot.com)
The Regulators #1
Written & Lettered by Jeff Loew
Illustrated and Colored by George Todorovski
Published by Visionary
http://www.visionarycomics.comthe blurb:A science-fiction thriller with interplanetary politics and terrorism. When things get messy The Regulators get called! Meet Pax Manfreddy, agent of the galactic police force known as The Regulators. When a fellow Regulator goes missing in hostile Martian territory, Pax must help rescue him. It soon becomes obvious all is not as it seems in this suspenseful sci-fi action thriller.
the three cents:In this thoughtfully succinct tale, we meet Pax as he's called from a holiday and set with the task of investigating the disappearance of a fellow Regulator cross worlds at a Martian colony. He quickly finds himself in a multi-species mystery involving a steeping rebellion, hidden agendas, and a great gunfight. Pax is not a supercop, and he's not quite Joe Q Public. He is good at his job, but he's tired and suspicious of many of the beings around him.
While I admit to being unfamiliar with Loew's work elsewhere, here he creates a solid and politically suggestive story, very mature, that brings to mind a number of classic Western films. Yes, this is pure science fiction, but the way it's handled really made me think fondly of some of the fantastic stories from the better years past of Heavy Metal magazine. The best sci-fi, while possessing of characters and settings from well beyond the realms of the norm, can still relay a certain level of humanity. And that is precisely what Loew has succeeded here, ending Pax's self-contained story on an uplifting, though highly introspective, note.
Todorovski's art is breezy and sketchy. His storytelling sense is very capable, and he easily portrays a range of persons and personalities (as well as alien landscapes and the like) with the skill-set of someone who has learned more from studying European comics than American. I was impressed. Fans of early Geof Darrow would dig this. Handling the full art chores on his lonesome, his inkwork is never too dark, and his colours only complete the breath of fresh air that this comic story visually is. As none of the characters are prone to lengthy soliloquies, there are some sequences that rest on moods created visually, and Todorovski creates silent shots like a pro.
While maybe nothing to write home about, this is definitely still a nice change of pace. A different breed of science fiction than Star Wars or Star Trek, absolutely, but an adventurous little story that shows well a kind of futuristic yarn that I would like to see much more of. And considering how cheap the digital copies are going for, anybody open and looking to check out something a little different would be a complete fool to pass this one by. Expand your horizons and thank me later.
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