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Eddie Campbell Tells All About His Collaboration With Alan Moore

March 9, 2013 / Klint Finley

From Hell Companion

Guess I missed this:

The “From Hell Companion” is “an astonishing selection of Alan Moore’s original scripts and sketches for the landmark graphic novel, with copious annotations, commentary, and illustrations by Eddie Campbell. Here for the first time are a set of pages, including some of Moore’s greatest writing, which have never been seen by anyone except his collaborator. Joining them are Campbell’s first-hand accounts of the project’s decade-long development, complete with photos, anecdotes, disagreements, and wry confessions. Arranged in narrative order, these perspectives form a fascinating mosaic, an opportunity to read ‘From Hell’ with fresh eyes, and a tour inside the minds of two giants of their field.”

Full Story: Cleveland Plain Dealer: Top Shelf Comics announces Alan Moore’s return to ‘From Hell’

You can buy it on Amazon.

Also: Three More Short Films From Alan Moore And Mitch Jenkins

It Will All Hurt

March 9, 2013 / Klint Finley

Panels from It Will All Hurt by Farel Dalrymple

It Will All Hurt is a rad sci-fi/fantasy adventure webcomic by Farel Dalrymple, known for his work on Pop Gun War, Omega The Unknown and Prophet. It’s coming to print but you can read it online for free.

Writing While Black

March 3, 2013 / Klint Finley

Black Panther

David Brothers writes:

What Alex is referring to here is something I’m going to call “writing while black,” because I honestly don’t know if there’s a proper term for it yet. In short, there’s a tendency for a certain subset of comics fans to view books written by black writers with a suspicious eye. The motivations of the writers come into question. Sometimes that suspicion manifests itself as viewing a book as a “black book” instead of a regular old comic book. Other times, it’s a kind of defensive, twisted white guilt, like when fans declared that Black Panther and Storm were only getting married because they’re black, and how offensive that is. (They didn’t. It’s not.) And other times, it’s just straight up racism, of course.

The specific thing that Alex is getting at, though, are the times when fans look at a book written by a black writer that feature a black character winning at something (or even being present, which I suppose is a type of win in and of itself) and go, “Hmmm… I dunno about all this. This seems pretty anti-white/preachy/political/angry/etc.” The accusations tend to reveal more about the complainer than the complained, in my experience. Nine times out of ten, it isn’t what they say it is.

Full Story: Comics Alliance: I’m David: Writing While Black and ‘One-Punch Man’

(via Ian MacEwan)

Check Out This Beautiful Web Comic Adaptation Of “The 3 Snake Leaves”

March 3, 2013 / Klint Finley

3 Snake Leaves comic

Full Comic: The 3 Snake Leaves by Emily Carroll

(via Ian MacEwan)

Free Online Comic From Invisibles/Seaguy Artist Cameron Stewart

February 17, 2013 / Klint Finley

Panels from Sin Titulo by Cameron Stewart

Cameron Stewart is known for his work with Grant Morrison on Batman and Robin, Seaguy, Seven Soldiers: The Manhattan Guardian and a few pages of The Invisibles, amongst other things. But he also wrote and drew a serialized online comic called Sin Titulo, a surreal mystery in the vein of Haruki Murakami or David Lynch that won an Eisner award. It will be released in print later this year by Dark Horse Comics, but you can read it online now for free.

Sin Titulo

Interview with Stewart on Sin Titulo

Alan Moore, Art Spiegelman and RZA Head Up New Comics Line

February 16, 2013 / Klint Finley

ballistic_issue_1

Black Mask Studios, the recently formed transmedia publishing company — founded by comic book writer Steve Niles, entrepreneur and transmedia production shingle Halo-8’s Matt Pizzolo, and Bad Religion guitarist Brett Gurewitz — has recruited some of comics’ biggest guns to help create their first wave of comic book titles.

Among the luminaries participating are Watchmen co-creator Alan Moore, V for Vendetta artist David Lloyd, Pulitzer Prize-winning Maus creator Art Spiegelman, The Walking Dead artist Charlie Adlard, Mike Allred (Madman), Ben Templesmith (30 Days of Night), J.M. DeMatteis (Justice League, Spider-Man), Molly Crabapple (Shell Game), as well as Wu-Tang Clan’s RZA and Ghostface Killah.

And there’s not a superhero in sight.

Full Story: Hollywood Reporter: ‘Watchmen,’ ‘Walking Dead’ and ’30 Days of Night’ Creators Launch Black Mask Comics

(via Hal Phillips)

History Of Marvelman Serialized At Comics Beat

February 12, 2013 / Klint Finley

Poisoned Chalice History of Marvelman

The Beat is pleased to serialize this of work of comics history by Pádraig Ó Méalóid, a known expert on things Alan Moore, British comics, and SF. In Poisoned Chalice he wades in to one of the strangest and thorniest knots of all of comics: the history of Marvel/Miracleman and still unsolved question of who owns this character. It’s a story that touches on many of the most remarkable personalities in the comics industry—Alan Moore, Neil Gaiman, Todd McFarlene, Joe Quesada and more—and one of the most fascinating. It’s a sad fact about the comics medium that only in the last few decades have its most talented and passionate creators been able to present their work with a guarantee of equity and ownership; I feel that it is no coincidence that since this began, the medium has risen in popular and critical regard. The story of Marvelman touches on the darker places of comics history, springing from the prehistory where greed ruled the day; it’s a tangled tale that I have occasionally attempted to untie myself, but Pádraig is far better equipped to do so, as I think the following will show, bringing the research and attention to detail the story requires. It’s a piece of scholarship that I am proud to present.

It’s my intention to serialize Poisoned Chalice over the next few months; but I would hope to see it published in a more complete form at some time. So with no further ado, let’s begin the story of Marvelman.

Full Story: Comics Beat: Poisoned Chalice: The Extremely Long and Incredibly Complex Story of Marvelman – Introduction

Remembering Dwayne McDuffie, And The Lack Of Black Creators In Comics

February 10, 2013 / Klint Finley

Dwayne McDuffie was one of the most prolific black writers in comics. He passed away in February 2011.

mcduffie-page1

mcduffie-page2

(via David Brothers)

I feel a bit complicit in this myself. I read McDuffie’s Deathlok and some of the Milestone books as a kid, but haven’t followed his work since. It’s a reminder that if we want to see more diversity in the industry, we have to do more to support the voices we already have.

Like I said, I haven’t followed his work in ages, but last year after his death I discovered McDuffie’s collection of sample pitches, plots and scripts. What an amazing resource to have left behind for future generations of writers.

On King City’s Portrayal Of Women

February 10, 2013 / Klint Finley

And for all Brandon Graham seems like an intelligent guy who really thinks about the portrayal of women in comics he’s still made a book that’s male gazey as hell. An important quote from the interview:

“Yeah I think that’s the big problem. It’s like, ok dudes, we’ve tended to your boners since the dawn of time. Can someone else have a turn?”

And it’s ace that he’s noticed things shouldn’t mainly be aimed at straight males. It makes me feel a bit bad for being all “ooh look at the objectification” as he comes across as a definite Force For Good in interviews but, well, the women in this comic still are totally aimed at that straight, male audience, aren’t they?

It’s an extension of that whole aspect of illustration that you see constantly on yr Tumblrs and Deviantarts and in grafitti and on music posters and such: young, straight men like drawing ‘badass’ idealised women in the kind of clothing they find attractive on a person. It’s for the male gaze and it’s not really subversive or new. Yeah, the line between ‘sexy’ and ‘sexist’ is a fine one, but I think this comic steps over the line?

Full Story: The Slow Bullet: Brandon Graham’s King City: My Continuing Adventures in being No Fun

(via Graham himself, who tweeted: “Here’s a article criticizing (in a lot of valid ways) the ladies of King city. I do still stand by the soap opera joke… Warheads is in a lot of ways me trying to grow past some of what I did in KC. I’m still cool with that stuff it’s just not where Im at now” [1] [2])

Critique of The Invisibles

February 3, 2013 / Klint Finley

Philip Sandifer wrote a sharp critique of The Invisibles. Here’s a bit about the role of chaos magic in the book and how it, although as he notes it has been around since the 70s, rose to prominence in the 90s:

Chaos magic is magic for libertarians. It sprung up, unsurprisingly, in the late nineties because it was a flavor particularly suitable for the techno-libertarians who disproportionately dominated the early Internet. And it was, in hindsight, a complete and utter bust. It’s just another flavor of the Heinlein-style science fiction that animated Babylon 5 and space opera in general. It amounts to Robert Heinlein in fetish gear, which is mostly just redundant.

Full Story: TARDIS Eruditorum: Pop Between Realities, Home in Time for Tea 52 (The Invisibles)

I’m not sure if he’s referring to chaos magic or The Invisibles as “Robert Heinlein in fetish gear,” but either one seems appropriate. It hits on one of the paradox’s of Morrison’s work, which is that on the one hand he dismisses the idea of individuality as silly Western Thoughts, but simultaneously spouts individualist and libertarian rhetoric.

He adds in the comments:

I thought about dealing with Lord Fanny. But that involves getting into Grant Morrison’s frankly shameful engagement with transgender issues, and that’s really far afield. And just makes me angry. […]

It’s not even that Fanny herself is bad. It’s that she fits into a larger and virulently transphobic context on Morrison’s part in which he casually deploys offensive slurs and appropriates trans experiences. It’s really astonishingly vile, and gets at the almost sociopathic narcissism that I find so infuriating about him. I think it’s very rare that Morrison manages an ounce of humanity in his work.

Sandifer wrote more on what was good and bad about The Invisibles in his piece on Lawrence Miles’ Dead Romance. He also wrote about Grant Morrison’s Doctor Who comics, which also touches on the rivalry between Morrison and Alan Moore.

All of this is part of Sandifer’s massive ongoing critique of Doctor Who, which he promises to follow in a few years with an in-depth look at the Morrison/Moore.

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