Tagged: San Diego Comic-Con

SDCC ’08: PopCandy Looms Large

While keeping a running tally of all the events of note at this year’s Comic-Con International is a job best left to the professionals, I can’t help but draw attention to one event that caught my eye — mainly because of its outstanding promotional art.

Check out the poster for Saturday evening’s PopCandy Meetup, painted by USA Today illustrator Keith Simmons, and based on the original art from Attack of the 50 Foot Woman:

I’ll certainly be there with one or more other members of the ComicMix crew, so if you’re interested in dropping by, here are all of the details. Be sure to RSVP ahead of time, as PopCandy’s Whitney Matheson has promised one-of-a-kind giveaways to everyone who does so.

crossed0-00-2536991

Interview: Garth Ennis on ‘Crossed’

crossed0-00-2536991No stranger to pushing the boundaries of storytelling in the comics world, Garth Ennis has routinely shocked and awed readers of such titles as Preacher, The Boys, Punisher and recently, The Chronicles of Wormwood. In early August, Ennis looks to repeat that success with Crossed, a story that promises to be a "horrifically visceral exploration of the pure evil that humans are truly capable of indulging." The series will be published by Avatar Press — also no stranger to testing the limits of mature-themed projects — with art provided by Ennis’ former collaborator on Wormwood, Jacen Burrows.

According to the solicit text for the series:

Imagine, for a moment, the worst crimes against humanity. Picture the cruelest affronts to decency. Conjure your darkest nightmares… and then realize it could all be so much worse. When civilization crumbles in one terrifying moment; when people are gleefully breaking into unthinkable acts of violence all around you; when everyone you love has died screaming in agony: What do you do? There is no help. There is no hope. There is no escape. There are only the Crossed. Certain to be the most depraved and corrupt book of the year, this one is not for the faint of heart!

With the prologue issue of Crossed (#0) hitting shelves immediately after this year’s San Diego Comic-Con International, I posed a few questions to Ennis about the origins of the series, his thoughts on pushing the boundaries in today’s comics scene and what really shocks him these days.

COMICMIX: What sparked the idea for Crossed, Garth?

GARTH ENNIS: I had a dream that I thought was going to be about zombies attacking a house full of victims, but it turned out they weren’t zombies at all. They were simply people, grinning with psychotic glee at the thought of what they were going to do to the occupants of the house — which wasn’t going to be anything nice. Then I woke up.

Thanks again, subconscious self.

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Comic-Con and the Art of Motorcycle Maintenance

While everyone’s getting excited about the big stars and events coming up at next week’s San Diego Comic-Con, the best story of this year’s con is just starting to unfold.

Ryan Richards is a relatively unknown comics creator, and he’s on his way to San Diego. He’s going for the con, but he’s also headed west to meet his father for the first time. For the full story, you can check out Ryan’s blog.

At the moment, he and his motorcycle, labeled "Stark Industries," is somewhere in Idaho or possibly Oregon. Here’s a post titled "Dr. Strange Hands":

When you ride for eight hours, your hands don’t quite work right. they move like they’re frozen. I’ve been trying to eat more bananas for the potassium to prevent cramping, it works but I catch my hands twitching the little fleshy tendon webbing between the thumb and first finger will pulse and spasm irregularly. It doesn’t hurt or anything just feels like I’m trying to type with electrified jellied hams.

I’m now in Dillon Montana, which I am going to say was named after Steve Dillon. Stopped in Manhattan on the way.

He’s taking donations to help pay for the trip, if anyone’s interested.

(via CBR)

Filthy Lucre, by Elayne Riggs

Being once again financially secure, with a job that will take less out of my paycheck for things like health insurance, and having a husband who’s also financially secure with his upcoming Big Project, I’ve been thinking a lot about money lately. Okay, I thought about it even more when I didn’t know where it would be coming from after my unemployment insurance ran out. Bu t now, my thoughts are turning to the strange notion of, as we used to call it in the ’90s back before Bush & co. ran the economy (and just about everything else) into the toilet, a budget surplus.

I was raised by two practical, fairly frugal people. We had our family holidays in upstate New York, we even took a trip once to Israel and Romania to see relatives, but for the most part we went to the shore or camp or just hung around the neighborhood when school let out. My parents were year-round wage earners, and encouraged the same sensibilities in me and my brothers. My mom was a school nurse for nine months out of the year and the de facto day camp nurse at Ashbrook Swim Club in the summers, where my brothers and I became counselors.

My first real paycheck at age 14 or so was from Ashbrook; I dimly remember getting a Social Security number so I could be paid. (Nowadays you’re assumed them at birth, aren’t you?) Because both Mom and Dad worked in an era when many families could afford to live on only one salary, I was never exposed to "mommy track" thinking, where I’d go to college to get my "M.R.S. degree." It was always assumed that, like my brothers, I’d go to university to acquire skills so I’d be able to support myself upon graduation. My brothers became accountants, like Dad. I was, um, er… well, I was an English major.

But after temping for about a year and a half I discovered, contrary to previous fears, that I was in no danger of losing my unique personality to become a cog in a faceless machine and that, in fact, I rather liked being a secretary. So that became my chosen profession. Yes yes, stereotypical female career, pink collar ghetto and all that — but hey, I enjoyed typing. I’d made pin money senior year of high school by running a buck-a-page typing service, back in the days before personal computers (and when dollar bills meant a bit more, as it was also in the days before plentiful ATMs). I figured I did about 40wpm in those days on a newfangled electric typewriter; later in my career that would jump to 80wpm on a Selectric and early PCs, and nowadays I regularly break 100. Hey, it’s my way of playing keyboard, since I never did have the reach to tackle the piano the way my grandmother and Dad’s cousins could. But I digress. (more…)

San Diego Comic-Con: Everything You Need To Know And Then Some

comic_con_logo-6878829We’ve already posted several round-ups of where you can find information about tickets, programming and other concerns related to this year’s Comic-Con International in San Diego next weekend, and while I’ve been considering the idea of some sort of official guide to the show, I might be better off just directing you to the exhaustive "Guide to Visiting and Enjoying Comic-Con International" posted by Tom Spurgeon in May.

Sure, the article was published more than a month ago, but much of what it details holds true now — and if you’re like me, you’ve avoided thinking about anything related to "Nerd Prom" until you absoluely have to do so. It’s well worth the time it takes to read through the article, and offers up the sort of wisdom that only years upon years of attending the show tend to produce.

Among the topics Spurgeon addresses in his guide are "What to Prepare in Advance" and "Ways to Maximize Your Hotel Experience," as well as tips about the local transit service, notable sights and services, and a metric crap-ton of other helpful hints.

From "Eighteen Random Observations About San Diego Hotels":

The trend downtown is towards 1) boutique hotels that cost an arm and a leg with features to match, and 2) big-name luxury hotels that can ramp up their room prices to those levels. Soon, no one without a major film development deal will be able to afford a downtown hotel, and all the comics people will stay in a tent city north of the zoo, burning old copies of Star Comics to keep warm at night and staging gladiator-style fights between inkers vs. colorists for entertainment.

If you’re headed to San Diego, this is pretty much required reading, folks. Do yourself a favor and give it a read.

Viz Looking for New Properties

12901vizmedia_logo-lg-1795549Manga publisher Viz Media will be looking to take on new projects, and even possibly some non-Manga content, according to ICv2.

In a Q&A with Marc Weidenbaum and Eric Searleman, editor in chief and vice president respectively, ICv2 finds out more detail about these changes, and how they tie into Viz’s announced talent search at the San Diego Comic-Con.

Are you looking for manga-style properties?

If by "manga" you mean what is generally considered manga in the United States (fantasy and romance aimed at teenagers), then no. If by "manga" you mean what is meant by manga in Japan (a broad range of comics that emphasize serial storytelling, cliffhangers, reader feedback, a supportive editorial process, and a rich creator voice), then yes we are.

The story also addresses the difficulty in selling any non-Japanese content in the Japanese comics market:

Japan remains the toughest market for material from other countries to crack. But even that may be changing, as the U.S. subsidiary of the two largest manga companies in Japan begins its search for original comics. Viz Media’s Marc Weidenbaum, VP Original Publishing, and Eric Searleman, Senior Editor, the execs handling the search for original content answered in the affirmative when we asked whether there is American material that would sell well in Japan. “Certainly,” they said. “Both countries have their own rich, indigenous graphic-storytelling cultures. There are bridges yet to be built.”

(via Blog@)

Full San Diego Comic-Con Programming Online

comic_con_logo-5300575Comic-Con International has posted the full schedule for the upcoming extravaganza in San Diego, and it’s overwhelming as expected.

Here’s Friday. And here’s Saturday.

Featured guests and exhibits are way too long to list, but Heidi MacDonald over at The Beat does a good job of breaking down the highlights.

Those two days, by the way, are already sold out, and Thursday’s tickets are just about gone. Get those comfortable walking shoes ready.

And while you’re there, keep an eye out for some of our ComicMix crew, who’ll be reporting on all the big news, and, if we’re lucky, keeping another running tally on slave Leia sightings.

The Origin of Image Comics?

Part of me really just wants to post the image here and leave it at that, but there probably should be some explanation. Over at the San Diego Reader, former Rock n’ Roll Comics co-creator Jay Allen Sanford has put together an illustrated history of the "The Birth of Image Comics" as part of a recurring feature spotlighting some of the local comics talent in the run-up to San Diego Comic-Con. Seen below is Sanford’s interpretation of the reaction from Stan Lee when Rob Liefeld decided to break from Marvel.

See? The explanation wasn’t nearly as entertaining as the illustration now, was it?

Also in this edition of the Reader’s "Local Comic Publishers History" lesson:

  • The Birth of Image Comics
  • Pacific Comics: The inside story of a legendary local comic book company (including a history of indie comics and the Creator’s Rights revolution)
  • RIP Dave Stevens, famous former neighbor who created the Rocketeer
  • Don’t Fear the Funnies: A history of censorship in comics
  • The New Kids On The Block VS Revolutionary Comics – illustrated by Superman/Supergirl artist Stuart Immonen

Webcomic News Roundup: Goats Goes Big, Webcomics.com For Sale

By far, the biggest item of note this week was announced today, as one of the longest-running webcomics in the ‘Tubes will now be collected in a series of 150-page Goats tomes. If you want to know the whole scoop, you can read my interview with Goats creator Jon Rosenberg here on ComicMix, as well as Gary Tyrell’s mustachioed Q&A stylings over on Fleen.

Here’s an excerpt from Tyrrell’s interview:

Q: Any of your other material — earlier strips, the tantalizingly incomplete Patent Pending and Worlds of Peril, your minicomics (including the long hoped-for Operating Thetan III) — that might now see print as a result of this deal? 

A: Anything is possible, but a lot of the projects you mentioned were ended for good reason. Patent Pending needs to be completely rethought and redone if I ever decide to work on it again, it would have made a better novel than comic I suspect. The Worlds of Peril comics were the inspiration for a lot of what makes up The Infinite Pendergast Cycle, I like to think that it’s the story of what takes place in the aftermath of Goats proper. It’s not canon, though, so don’t be reading too much into that.

The first minicomic is going to be reworked slightly to serve at the intro chapter for Infinite Typewriters. The second one could theoretically be included as an extra in one of the other volumes. I don’t have any plans to produce OT3 at this time but if I can fix some of the plot issues I could see it appearing in the future in some form, either as a standalone or as an arc of Goats.

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Interview: Warren Ellis on FreakAngels, Webcomics and Doctor Who

fapinup01coloured-4448516For anyone familiar with the online presence of award-winning writer Warren Ellis, it came as no surprise when the author announced at last year’s San Diego Comic-Con that he would be scripting an original, ongoing webcomic hosted by Avatar Press and titled FreakAngels. The concept, the preview art and even the name of the series all seemed quite, well… Warren Ellis.

What has been surprising, however, is the ease at which the longtime print author has adapted to the online medium and managed to create a compelling, unique series with very few blips in the weekly schedule he set for himself and FreakAngels artist Paul Duffield. At a time when top-tier print titles are failing to meet monthly schedules time and time again, Ellis and Duffield have managed to create a consistently compelling, unique series worthy of mentioning in the same breath as many of the more established webcomics out there. The fact that the series also has Ellis’ considerable online savvy and the resources of an up-and-coming publisher like Avatar behind it only makes the entire package even more intriguing to anyone with an interest in the digital evolution of the medium.

Avatar afforded me a few minutes to speak with Ellis during the recent Wizard World Chicago convention (where he was the event’s Guest of Honor), and I was glad to have the opportunity to ask him about FreakAngels, his thoughts on the online publishing scene, and how it all relates to traditional British storytelling.

COMICMIX: Coming from the print side of the industry, did your creative process change much for FreakAngels, Warren? How did the new medium affect your routine?

WARREN ELLIS: The only thing that has really been affected is the length of the episode. But even then, I’m not really writing with six pages in mind so much as I’m writing with 144 pages in mind. I’m writing FreakAngels in 144-page blocks, so I’m really keeping my eye on the bigger picture as opposed to keeping an eye on the ending of page six. So really there’s been no change at all.

I’ve kind of refused to change. [Laughs]

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