Tagged: comics

Brian Bendis, Warren Ellis and Other Creators Reveal the Comic That ‘Hooked Them’

  • News
  • April 10, 2008

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As a reader of comics, there’s probably one book in particular that got you hooked in the first place and kept you reading. Whether it was Superman, Batman, Fantastic Four or, like it was for me, Captain America, you always remember fondly that first one. Successful comic book creators such as Brian Bendis, Warren Ellis and Jim Lee also have a first one that inspired them and over at Entertainment Weekly, they share which comic book was "The One That Hooked Me!"

Among the comics that inspired these creators are Fantastic Four #1 for Brian Bendis, Tarzan for Jim Lee and Countdown, a british comic series, for Warren Ellis. Some of the other artists and writers who detail their first comic book experiences include Robert Kirkman, who counts Amazing Spider Man #314 as the one that "hooked" him and Matt Fraction, who finds it interesting that his first comic book was Batman #316.

If you do read comic books — and lets’s face it, if you’re here at ComicMix, you probably do — what was the comic book that first "hooked" you?

ComicMix Radio: Would You Sell Comics To These Guys?

Despite the Reality TV show, license to carry a gun and the costumed crusader thing, the Defuser is just like us. He hits the comic shop every week, but what does he grab? He shares his weekly list with us, plus:

— Image, Marvel & DC all chalk up sell-outs

— See you in  September – Three hours of Heroes!

— More High School Musical and The Saint slips back on screen

—  And you know we have another  exclusive Graham Crackers Comics variant that could be in the mail to you – if you win by e-mailing us at: podcast [at] comicmix.com

You know the drill – press the button!

 

 

And remember, you can always subscribe to ComicMix Radio podcasts via badgeitunes61x15dark-9058926 or RSS!

 

Interview: Steven Cloud on ‘Boy on a Stick and Slither’

  • News
  • April 10, 2008

Boy on a Stick and Slither creator Steven Cloud claims that he’s been publishing his webcomic since 1999, but one gets the impression that BoaSaS has been around quite a bit longer than that, growing in the margins of sketch pads, notebooks and crumpled pieces of paper discarded long ago.

The structure is fairly simple, with only two major characters in essentially the same position from one strip to the next, but the subject matter, well… that’s another story. The topics of conversations for the primary characters, Boy on a Stick (a stick with a boy’s head, just like the name implies) and Slither (a green snake), range from simple observation to complicated existential analysis. One strip will contain dialogue that could just as easily be found in a supermarket checkout line, while another will directly address complicated sociopolitical debates of the modern era.

So, yes, it’s a bit hard to "sum up" BoaSaS… and it seems like Cloud intended it that way.

In fact, it’s probably best to let my conversation with Cloud speak for itself as the best description of the strip, its creator and why it should be a part of your weekly reading list, as we discuss the origins of BoaSaS, the current debate over profitability in print- versus web-based comics, and his upcoming participation in a road rally that spans several continents.

COMICMIX: Thanks for taking some time to talk with me, Steven. What are you working on tonight?

STEVEN CLOUD: Honestly, I was just goofing off, surfing some old sites I’d bookmarked but forgotten. But my intention was to start drawing comics. I have the file open. That’s half the battle.

CMix: What’s the plan for the comic you’re working on tonight? Do you already have it thought out and need to work on the art, or are you still brainstorming a bit?

SC: I still need to brainstorm. I have it 90-percent drawn and maybe 50-percent written. I have a vague notion and I’m trying to turn it into an idea.

CMix: Is that how things normally work with BoaSaS? What’s the creative process normally like for you?

SC: I work probably four hours a day on average, including weekends. I have a full-time job that pays the rent. I have to draw comics during my off-hours. I normally just sit at the computer and draw fun backgrounds while surfing and IM’ing. Then I try to think of a clever premise/joke and lay it on top of the background.

It’s very free-form. Sometimes the background inspires the idea. Other times an idea will strike and drive the process. I just go with the flow and have fun with it. (more…)

Interview: Peter David on Stephen King, ‘X-Factor’ and ‘Dark Tower’

  • News
  • April 7, 2008

Peter David has had many successes during his long career as a writer. From his beginnings as an assistant in the sales department at Marvel Comics, through his character-redefining run on The Incredible Hulk, to his bestselling Star Trek novels, David’s talent, wit and style continue to serve him, and his readers, very well.

More recently, he’s taken on the task of helping to bring Stephen King’s The Dark Tower to the pages of comics and jumped back into the X-Universe by writing the re-booted  X-Factor title for Marvel. ComixMix recently caught up with the multi-talented author to get the latest on X-Factor, how he works with artists and the legendary Stephen King, and what makes a good story.

COMICMIX: Peter, thanks for taking the time to talk. Getting right to it, take us back a bit — how did you get started writing comics?

PETER DAVID: Well, I was working in the sales dedepartment at Marvel Comics under Carol Kalish and writing was something I was doing on the side. Long story short, I started pitching ideas around at Marvel and wound up impressing Jim Owsley, the then-editor of Spider-Man, and was assigned to Spectacular Spider Man as a writer.

I did that for about a year or a year-and-a-half. After that, I was offered the Incredible Hulk, which I, of course, took on. During that time, I also started to send out inquires to other publishers like DC and asked if they would be interested in hiring me.

They said they would so I decided to become a full-time writer and never looked back. That was in 1986 or 1987, something like that.

CMix: Was there one particular moment when you realized you could do it for a living?

PD: People coming to me and asking me to work for them kinda tipped me off. It was primarily when I approached DC to see if they would be interested in me as a writer and they said they were.

If they had said no, that might have been it. I might still be in the sales department at Marvel.

CMix: Did working at Marvel at the time help you make the transition to full-time writer? Did it help to already have your "foot in the door"? (more…)

Money, by Mike Gold

  • News
  • April 7, 2008

I started thinking about money.

Well, actually, I probably haven’t stopped thinking about it since the day I realized my daily school lunch would buy me three comic books and one candy bar. But being older yet no more mature, this time around I started thinking about the price of gasoline.

Right after the New York Comic Con, my wife, daughter and I are going to pile into my 2005 Ford Focus hatchback and drive across New Jersey, Pennsylvania, Ohio, Michigan, and Indiana to spend time in Detroit and Chicago. Mostly work, but lucky for me I work with my friends, which is sort of like spending my lunch money on comic books.

Here in Fairfield County Connecticut the price of a gallon of gas is $3.45. It’s about time they dropped that “9/10ths” thing – I’m sure they will when the price of gas goes above $9.99 a gallon. If previous trips (I do this about three or four times a year, mostly for conventions) are any indication, I suspect I’ll be paying about $3.19 a gallon in Pennsylvania and Ohio. The drive, in total, runs about 1800 miles and my Focus gets about 35 miles to the gallon – this is mostly highway driving, so I’ve got the right car for the job. That’s about 52 gallons for the trip, which I figure will run about $170.00 plus tolls. Call it $200.00; if I flew in alone the car rental would cost more, let alone my airfare.

This brings me back to my lunch money. I am so damn old that my school lunch only cost my parents 35 cents, and therefore the comic books I bought with that lunch money only cost a dime (when the price went up to 12 cents, I just stared at the cover as though it said the Communists had just seized control of the drug store). Today, the average cost of the standard format mainstream comic book costs $3.00. That’s a thirty-fold increase. A gallon of gas in the late 10-cent comics era was about 30 cents, so we’ve only suffered a little more than an eleven-fold increase. (more…)

The ‘Paper Comics Deathwatch’ Continues

  • News
  • April 6, 2008

In the recurring "Paper Comics Deathwatch" feature over at Flashback Universe, the blog’s authors chronicle the events they believe to be hastening the demise of comics in printed form. It’s an interesting read occasionally, and I can’t help but laugh at the way "PCDW Points" are assigned to each event.

Recent subject matter for PCDW includes all of the love publishers are showing MySpace around the comics scene, an analysis of Joe Field’s address at the recent Comics Pro retailers conference and the Wizard crew pimping an advertising partner’s scanner as "Comic Book Collectors’ Heaven."

Heck, they’ve found so much fodder for this feature that they’re taking art submissions for a PCDW logo and awarding some prizes for the winner.

(DISCLOSURE: Readers can always get free, online comics published every every day of the week here at ComicMix, so there’s a distinct possibility that we might be showing up in that PCDW feature at some point, too.)

In related news, Vaneta Rogers recently tackled the best ways to attract new readers to comics in her always interesting Q&A feature over at Newsarama. A variety of industry creators weighed in with their thoughts on how to get a foot in the door with readers outside of the hardcore comics scene.

Christos Gage offers up some of his thoughts:

Like, if you rented a film noir movie, then there would be an ad at the beginning of the DVD, just like you have ads for other movies, but it would be for Criminal by Ed Brubaker, or something like that. I’d like to see ads that tie-in not only with comic book movies — like if you enjoy the Iron Man movie, then you’ll like Iron Man comics. But something where it says, "Hey, if you like James Ellroy, you’ll like Criminal."

Chuck Dixon also makes a nice point:

I wish someone other than Archie would make a digest-sized comic for the "impulse" aisle at the supermarket. A Batman/Superman or Spider-Man or Star Wars comic would go nicely in the pocket recently vacated by the cancelled Disney Adventures digest in thousands of market checkout lines. Disney cancelled their book because it was only selling a million copies a month!

 

(semi-via Journalista)

ComicMix Radio: From Battlestar To Bruce Campbell

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Now that Battlestar Galactica has started on the road to its series finale, co-executive producer Mark Verheiden is turning to other creative avenues, including his new DVD feature with Bruce Campbell, The Teen Titans and his wishlist of creator-owned comics. In our ComicMix exclusive, he shares his plans, plus:

— Stan Lee’s new manga project to debut at NYCC

— Cartoon  Network announces "Fantasy Friday"

— Fell left out with Battlestar? Here’s a quick refresher!

—  And… another  exclusive Graham Crackers Comics variant that could be in the mail to you, if you win by e-mailing us at: podcast [at] comicmix.com

Don’t mess with Bruce, just press the button!

 

 

And remember, you can always subscribe to ComicMix Radio podcasts via badgeitunes61x15dark-8986822 or RSS!

The Rights Stuff, by Martha Thomases

  • News
  • April 5, 2008

This has been a stimulating week for any discussion of artists’ rights in the comics field. The courts awarded a share of the Superman copyright to the heirs of Jerry Siegel, and Warren Ellis left Marvel’s Thunderbolts series, saying, “It’s as simple as this – if I don’t own it, I’m not going to spend my life on it. Joe Quesada and Dan Buckley know that, they’re fine with that, and they hire me on that understanding.”

It’s my temptation now to brag, to tell you about the time I walked around the San Diego Comic Con with Joanne Siegel, how Warren Ellis is not only someone I know, but also my Facebook friend. Then you’d envy me for my fabulous life, and my weekend would be that much better. However, that’s not really a very good premise for a column. People haven’t worked so hard, risked being blackballed by major publishers and put their careers on the line just so I can feel better about myself (although, perhaps, they should consider doing so, since it would make me very happy).

The artists and writers in the comics community face the same trials and tribulations as the creative talents in any of the popular arts in this, our American capitalist society.

The blues musicians who created the tunes still used in popular music never received the copyrights for their work. If they were lucky, the assigned those rights (in contracts they never read) to the producers of their work. In that case, they at least got paid for their recordings. More likely, a white man heard the song and sold it as his own. (more…)

Interview: Nicholas Gurewitch on ‘Perry Bible Fellowship’

  • News
  • April 4, 2008

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For longtime readers of Nicholas Gurewitch’s weekly, syndicated webcomic Perry Bible Fellowship, it didn’t come as much of a surprise when, late last year, the first print collection of the popular series became the fastest-selling graphic novel in the history of online bookseller Amazon.com.

What did come as a surprise, however, was the announcement that Gurewitch made a few months later.

"I feel I owe it to myself and the Perry Bible Fellowship not to turn a joyful diversion into a long career," wrote Gurewitch in a widely publicized mid-February message to the newspaper and magazine editors running his PBF strips.

Just a few months after The Trial of Colonel Sweeto and Other Stories, made big news in the publishing world by selling more than $300,000 copies in pre-orders alone, Gurewitch made headlines once again by announcing that he would be cutting back on production of the strip — moving from a weekly schedule to a more manageable routine.

"I’m making this decision for a variety of reasons," he explained, "but mainly because I want to do other things besides be a cartoonist."

According to Gurewitch, the decision was made after realizing that the success of PBF had placed him at a series of creative, personal and professional crossroads, and there was no better time to begin walking a different path.

I spoke with Gurewitch recently about the decision to move Perry Bible Fellowship into "semi-retirement," what he’s doing with his time these days and the frustrating divide between creator’s intent and audience’s interpretation.

COMICMIX: Thanks for taking the time to talk with me, Nick. Now that you have a bit more free time, how are you spending it?

NICHOLAS GUREWITCH: I’m working on a few more books to come out through Dark Horse and I’m writing a feature-length movie script that I’ve wanted to write for years. That’s at the forefront of my mind right now. I’m really excited about it.

CMix:  The books you’re working on, are they related to PBF or are they different projects entirely?

NG: One is a sequel or replacement for the Colonel Sweeto book. It’s a more expensive book that has more comics in it. The other would be a spin-off, if you wanted to call it that — it’s a continuation of one of the stories.

CMix: What story?

NG: It’s the one with the French title that looks like a woodcut. It’s about the Grim Reaper trying to dispose of a baby. He fails, and it’s kind of a sad moment that makes you think, because it’s sad that he didn’t kill a baby. But I’m trying to play with that irony a little more in this small book that I’m doing.

(more…)

The Race Card, by Michael Davis

  • News
  • April 4, 2008

I’m writing a book on race and…hey, I’m serious. I’m writing the book with my boy Rusty Cundieff, whose long list of director credits include the films Fear Of A Black Hat and House Party 2. Rusty was also the director of The Dave Chappelle Show. I came up with the project three years ago and Rusty came aboard two years ago. Why has it taken so long? It’s one of those projects that just takes the time it takes (hear that, O?). The book is called Every Thing You Wanted To Know About black People But Were Afraid To Ask.

I had a fair amount of interest from some publishers over the last two years but lately there has been a flurry of interest from many publishers. I have no doubt the recent focus on race in the presidential campaign has made the book a lot more relevant.

The book is written by two black men and is based on our experiences.

Now, what does that mean? It means that two black men are going to talk about our experiences as black men. We do not speak for every single black person. Rusty and I are also professional television writers who LOVE to write comedy, so you KNOW what that means…fun, laughs and WHITE WOMEN!

If you have the ability to read and reason then you must feel like I do about racism and that is that racism is just plain stupid. I just don’t get racism at all. It’s stupid, stupid, STUPID.

I mean to dislike someone just because of the color of their skin is nuts. The only thing dumber is hating on someone because of his or her religious beliefs. What’s next, hating someone because they eat apples and you like oranges?

The rest of the world should take a page from the comic book world. We don’t see color. I have been to hundreds of comic book conventions all over the planet and never felt even the hint of racism. Now there were some times in the convention city where racism was a real issue.

  (more…)

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