Smash Pages Q&A: Jimmy Palmiotti, Comics Advocate

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For my money, Jimmy Palmiotti is one of the smartest and hardest working creators currently in comics. In this new Q&A, he and I discuss a range of ideas and projects, including updates to the PaperFilms site; the company’s new Threadless presence; Starfire; and Harley Quinn Road Trip Special #1, the latter of which goes on sale September 9.

As always you continue to make improvements to the PaperFilms site, how important is that site to maintaining a rapport with your fan base.

The PaperFilms site is our hub where we keep people up to date on our work, offer our services, offer downloadable books, limited signed prints, book conventions and sell just about anything we do produce these days. I think it’s very important for any creator to create a brand and offer their work to the public because with dozens of companies selling hundreds of books a week, a lot of product never makes it to a comic shop. Amanda Conner, for example, can only do about 12 shows a year, and at these shows she sells signed prints. It just isn’t fair or realistic that she can be everywhere, so we like to look at it as a service that people can buy her signed prints at our site and not miss out. Things like this are super important to building and then keeping a fan base happy. I’m a consumer like everyone else and buy product right from creators. I like to think with no middleman involved, I am supporting that creator and giving them some support to continue their craft.

Is there any thing better than getting to be able to feature art from Amanda, Phil Noto, Dave Johnson, Paul Mounts, and others via Threadless?

There is nothing better than seeing a lot of hard work presented on something besides a comic book.  We have a small interview about it here and I have to say that although it took some time for Bill Tortellini and I to put it together, we are both super proud how everything came out. The phone cases are top quality and the printing on them is stunning. The T-shirts and canvas art are also very cool and seeing these on people is just amazing. For Dragon Con and Baltimore, if you show me a case or a wear one of these t-shirts, I will do that person a free quick sketch. Yeah, I’m not the best artist, but I can draw a pretty good Daredevil or Jonah Hex. Threadless and the crew up there have been amazing at promoting our section, so we hope to see some sales soon.

You are advocate for good comics be it they corporate or creator-owned, you are squarely an advocate, not an apologist. Look no further than earlier this week and the FB post. “Opinion pieces are not facts. DC is doing great and as anyone that has worked as a boss in publishing, you constantly have to experiment and shake things up all the time. Harley and Starfire both came from that. Marvel Knights came from that. The press trying to make DC look weak should spend the same time pointing out how the company makes sure we are compensated for our creations in all media, how they give us a % of foreign royalties for our books and digital sales and how they include us in their PR for the projects we work on.“

Where do I start. How critical are foreign royalties for you? How important is it for you to be be plugged in terms of PR?

This post was my reaction of seeing a couple of days worth of press attacking D.C. comics, which by the way, is one of the best companies to work for in comics, and I have worked for them all. I’ve been called a company man because I stick up for them, and I totally am… but I am a company man for about 8 different companies I’ve been working for, including DC, Marvel, Image, After Shock, Boom, Dark Horse, Action Lab, Jet City, Adaptive, and including my own company Paperfilms. Anyone that knows me knows I push and talk up every company I work for and it’s part of what you get when you hire me.  I think it’s the smart and professional thing to do and will not make excuses for it.

What I hate seeing is everyone joining in on bashing a company that is constantly trying new things and really does go the extra mile with creators on a daily basis. This is one of the few companies that pay us for foreign royalties on our books, which is a big deal when you have been working for over 20 years in the business and start doing shows overseas and get to see all of your work in giant collections and collected editions. This is a decent amount of money and I am sure all the retired artists and writers that have worked for them in the past are happy to receive these well-deserved checks. The comic book business is global, with books being printed all over the world and the idea that a company limits their royalties to only English editions, or just to print is just not playing fair with their talent anymore.

No matter who I work for, I can always find faults in the company, and DC is no different, though I will say I find much less in them than others. Companies shake up their lines each year, sometimes twice a year and that is just normal business…something is not working, try something new. Marvel and DC do this all the time. Have been for a long time. Marvel Knights did it and I was part of that. I guess what I am trying to say is that in the end, everyone bashing these companies publically have to remember that as this negativity leaks out to other media , it paints a pretty crappy picture of the business, so I rather remain positive and celebrate what IS done right, promote the good work and keep the negative vibes away.

Yeah, not as interesting as being negative, and I understand that, but we are working in a time where we have some of the greatest comic artists in the world creating things of beauty each and every month. I would much rather celebrate the art form. It’s how I roll.

With Starfire #3 there were a few subtitles like “Cruise Out of Control” are those narrative elements than an home back to the 1970s DC comics, or something else?

They are a fun way of cutting scenes and locations and pushing the book further along than a regular format. It has been done in film for years and we have done it many times in the Jonah Hex series so it seemed like a fun place to do it, and a challenge with the titles working with the set up scenes. The chapter thing is very retro, but it still works well today.

In Harley Quinn 19, did you or Amanda write that great “I built Beaver Dam in my pants.” speech?

That was all me with her editing it because I might have gone totally overboard. There are times when writing parts of the book, all I really want to do is entertain Amanda and she just loves bathroom humor…so the two rants in the book are me sending a love letter to her. I read one review where they said it was too much and over the top and that also made me happy as well. We pride ourselves in going where no others would even think of going and at the same time keeping it all fun. You would think after writing over 25 of these books we would run out of this silly stuff, but far from it. Amanda’s brain is a fun house of madness and with the two of us working on this at once, it is rather insane at times. Thank God it fits the character.

What made you want to get involved with Mike Marts new After Shock. He clearly respects you and Amanda?

Mike and Joe Pruett are close friends and I have a history with both. Their partners are smart and lovely people and together, we saw an opportunity to have some fun and try something different with the character we are presenting. Mike gave me one of my first writing gigs for a major comic book company and that was my run on Deadpool many years ago at Marvel. He asked and we answered. As well, they are both big fans of Amanda’s work and that just made the entire process that much sweeter.

What can you tell about the new Harley Quinn annual road trip?

This double sized special was a fun idea Amanda and I were tossing around for a bit, putting Harley, Catwoman and Ivy together on a road trip across country. We honestly only had one problem doing this book and it was that we needed about 60 more pages to tell the entire story we wanted to tell…not a bad problem though. We get to follow these three as they party, play Truth or Dare and pick up some unlikely hitchhikers. We also learn a little about Harley’s childhood and family in the process. We custom wrote this special to be illustrated by Bret Blevins and with the help of some other guest artists like Moritat , Mike Manly and a few others, it’s a pretty fun over the top story.

 

Smash Pages Q&A: Chris Schweizer on ‘555 Character Drawings’

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Let me be clear, writer/artist Chris Schweizer [aka schweizercomics] never does anything in a halfass manner. For proof of this look no further than his latest project, 555 Character Drawings. Or more exactly gander at the nuanced answers he provided for my interview of him about the book. Thanks to Chris for his time and thoughts.

Tim O’Shea: More impressive then the ability to get 555 characters into 91 pages, is the amount of text you produce. How many words does this clock in? Did you have to cut some text for space?

Chris Schweizer: I don’t really have to cut text because I don’t write it independently (and as such I don’t know the word count).  Though I sometimes crib from the commentary on the original blog posts should they be pieces I’d posted online, usually what I do is lay out all of the pages with the drawings, guessing as to how much space I’ll need for each write-up, then write until that space is full.

I feel the same about books as I do meals.  However tasty a dinner at a fancy restaurant may be, small portions leave me feeling like I’m not getting my money’s worth.  Rural frugality, I guess.  With art books I feel the same way.  It’s hard for me to justify spending twenty-five bucks on a fancy sketchbook that has only a handful of drawings in it, though I’ll grudgingly bite the bullet when it’s an artist that I really like.  But I assume that there are plenty of cartooning fans who feel the same way that I do, and so I want anything that I put out to be calorie-heavy.  So cramming as much as humanly possible into any sketchbook or art book is always a priority for me.  I want people to get their money’s worth.  I did the math, and I think it costs less than a nickel per drawing.

Sometimes I’d have a quarter of a page in a particular section left, so I’d just draw more characters.  That happened with The Three Musketeers.  I added three incredibly minor characters because I had page space.

So, yeah, I’d write around the images and do my best to not overdo it.  The only place where I let myself be too self-indulgent was in the Crogan Adventures section, where commentary from one page ran to another.  I just found the research info too neat not to share.  Or I wanted to show off with that info.  It’s easy to let ego take a heavy hand, and though I’ve gotten better about it I’m certainly still susceptible.

The layout is exquisite, particularly given your economic utilization of space. Nothing seems crowded. How hard was it to maintain such a balance?

Thanks, Tim.  It is a balance.  I get flummoxed by sparsity of content, but I’m also turned off when there are too many drawings collaged together with no easy way to process and take them in.  A lot of it is gut reaction to composition for each page.  As soon as something goes into a book, the individual piece on a page stops being the art and the page itself becomes the art, however many pieces are on it.  So I try to make each page appealing aesthetically.  Sometimes I’m more successful than others.

Two extremes: which character almost threw themselves on the page, it flowed out of you; and which character proved to be the most challenging to execute?

The drawings themselves almost always came quick.  Sometimes I’d be unhappy with the result, and I redraw it from scratch, and there are probably ten or twenty pieces in the book that got this treatment.  Some I hit three times.  But the drawings themselves were always done lickity-split.  I spend so much time refining designs for my books, and I wanted to tackle these straight-to-paper.  They were meant to be fun something-to-do-instead-of-comic-pages pieces, so I never labored over them, or tried not to.

But the research leading up to some would take a while.  The Zapatistas in the black history section took about a full day or more of nothing but research, because while I found plenty of photos of Afro-Mex solderas I couldn’t find any documentation about names, and what documentation I found was often erroneous upon deeper digging.  Actually, most of the black history section took a while, because I was narrowing stuff down, trying to find historical figures that fit into popular historical periods that have their own adventure genres (western, medieval, samurai, etc).  Since I’m not in Atlanta anymore I couldn’t utilize the Auburn Avenue library collections, and since I’m no longer affiliated with a college I’ve lost ready access to most online academic journals, so finding credible source material was tricky for pre-1920s black fighting women, especially; much of what’s floating around the internet stems from a single publication from the 70s that cites no primary sources.  I’m not a historian, but when I put up historical stuff (which is a pretty substantial percentage of the work) I want it to be solid and beyond reproach, especially when trying to highlight things that go at odds with the popular perception of history.

But really, everything was researched.  The monsters, French clothing in the 1600s for the Three Musketeers set, book descriptions of characters… I even had to track down pictures of young Wilford Brimley in order to conceive a younger version of his character from a made-for-TV Ewoks movie.  Found an episode of Kung-Fu that he was in in the early 70s.  And guess what?  Young Wilford Brimley looks pretty much the exact same as old Wilford Brimley, just with slightly redder hair.

When you look back at your work, do you ever surprise yourself with an emotional response that it may have not elicited originally. For me (as an observer, not the creator), I crack up every time my eyes fix upon Olympia Maxime.

Not really.  My feeling towards a given drawing usually remains consistent from whenever I finish them.  Most of these I was generally happy with, and the ones that I wasn’t I redrew.  I was really pleased with how the “Ghost Rider in the Sky” in the monster section turned out.  It might be my favorite piece in the book.

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When you release projects like this, how often do fans offer suggestions of characters they would like to see?

Fairly often, via platforms like Twitter and Tumblr.  Usually it’s folks offering suggestions to add to a series that I’ve posted, calling me out on something they see as an absence.  Usually, not always but usually, that omission is intentional.  On the black history series I got more than a hundred notes about how it’s a shame I forgot to include Thomas Alexandre Dumas.  I didn’t.  I was limiting myself to only one figure per historical era, and I opted to include the Chevalier de Saint-Georges for my Regency swashbuckler because I feel like he’s less well-known than Dumas, whose recent biography was pretty high-profile.

It would probably behoove me to ask for suggestions when doing a big section, but I never think to.  Mostly because these are things I’m doing for fun, and I know what I want to draw.

Has Francesco Francavilla seen your version of The Black Beetle? If so, care to share his reaction?

He has seen it.  He’s got the original art for it.

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I ended up scrapping most of the pulp heroes from the book.  There were originally another ten or so, but most of them weren’t really redesigns or fresh interpretations or anything, they were just drawings of Lobster Johnson or the Rocketeer or the Phantom or whomever.  Though I got permission from most of the copyright holders I ended up leaving them out of the book because I felt like they weren’t in keeping with the rest of it, which were redesigns are new interpretations.  But I left the Black Beetle (I didn’t do any design on that one, either, it’s just a drawing of Francesco’s version) in there partially because I figured that on the off chance that there’s someone who likes my stuff that doesn’t know Francesco’s (unlikely!) it could steer that reader his way.

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Above are pulp heroes that Schweizer left out of the book, but happily shared with Smash Pages.

That’s something I wanted to do with most of these pieces.  Introduce characters or figures that I like or find fascinating to people who may not know them, or make them take a fresh look at a character that previous film or TV or illustrated interpretations have made too familiar.   I became interested in Sherlock Holmes when I was in high school because of a manic interpretation vastly different from the Basil Rathbone I’d grown up with; it made the familiar unfamiliar and was a jarring reminder that we can let one interpretation color our perception of something meant to be interpreted individually.   If I can get someone to take a fresh look at a character that they know, that’s very exciting to me.

Do you intend to keep producing these kinds of projects or these types of character sketches?

I put together 555 Character Drawings as a means by which to hopefully put a cap on these drawings.  I was kind of getting obsessive with doing them.  I might do things like these in the future, but I’ll handle them much differently, or try to.

I have been pecking away on similar project – I’ve worked up pencils based on a long stint of research for about two hundred fifty New York street gang members from the 1840s-1860s.  Once I do the 7thRegiment, 11th Artillery, and other militia and army units that actively fought the gangs during the Shakespeare Riot, the Draft Riots, etc, and civilians, it’ll top three hundred figures, easy, and I’ll likely do buildings, too.  But I don’t know what the best way to present it will be.  Maybe as an absurdly large diorama set, maybe as some kind of game, a miniatures game.  I’m thinking that I might do a kickstarter for whatever I do with it.  I’ve never done one for a variety of reasons but if I did it would probably be for something giant and nutty like this.

Smash Pages Q&A: Miss Lasko-Gross on Z2 Comics’ ‘Henni’

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Smash Pages is pleased to chat with Miss Lasko-Gross regarding her latest graphic novel, Henni, released by Z2 Comics earlier this year. misslaskogross tale about Henni, a young cat-like woman who hails from a community dominated by a harsh faith as well as an even more strict dogmatic mother, entered the comics industry in January at the exact same time the Charlie Hebdo terror strikes occurred. Essays such as this one helps remind readers what misguided people will do just out of fear for ideas, a concept explored in Henni as well.

Lasko-Gross’ earlier award-winning semi-autobiographical work, such as A Mess of Everything, might not come to mind when reading Henni, and yet both works share a bluntness and raw honesty that fuel Lasko-Gross’ narrative approach. The writer-artist’s newest work, which stars a character who faces stigmatization and far worse for daring to question her family’s faith, clearly strikes a chord with audiences. In a wide-ranging Q&A in which Lasko-Gross aptly notes “honor killings, attacks on school girls and artists not only occur, but are acceptable to some” brings home the point that this escapist story unfortunately has the means to speak to present-day atrocities. [Please note, this interview was conducted in early 2015, but logistics on Smash Pages’ end caused a delay.]

Tim O’Shea: No one could have envisioned the subplot of art as a form of protest against religious fanaticism would seem like such a prescient element in the wake of the Paris attack. As a creator, how satisfying was it you to see people use Henni as a conversation starter in a way about the senseless violence?

Miss Lasko-Gross: I think, unfortunately, whenever Henni was released, contemporary censorship and repression might have made it seem timely. Certainly when I was working on the book I had in mind the heavy sexism/racism/classism in the foundation of nearly every world culture and religion. I live in a lucky geographical/historical pocket of freedom and tolerance but that doesn’t change the tragic and violent truth.

We still live in a world where honor killings, attacks on school girls and artists not only occur, but are acceptable to some. Where otherwise “normal” modern people scoff at provable scientific facts and demand equal weight be given to their personal beliefs. Where people allow fear and hatred to erect artificial borders between groups of people. Henni certainly wasn’t intended as a didactic work, but I feel flattered that anyone would include it in an ongoing conversation that I feel passionately about.

What kind of religious or philosophical upbringing did you have? What kind of research did you to inform the religious/patriarchal elements of Henni?

I’d describe my family as politically progressive low-intensity Jewish. Even so, as a little girl, I still gave them a very hard time about the minimal level of religion they wanted me to practice. At the same time I was supposed to be learning about my own “true” faith, I was deeply into Folklore, Fairytales, Greek & Egyptian Mythology. I think I couldn’t help but notice the similarities in the underlying questions being answered. The world exists because…terrible things happen because… you must behave and nothing must ever change because…we’re better than other groups because… women are inferior because… I was young and unable to articulate why I didn’t want to participate, but knew I deeply mistrusted anyone who offered to do my thinking for me.

When writing Henni I did some general brushing up on comparative religion as well as reading “Guns Germs and Steel” for a bit of help with geological/geographic world building.

How early in developing this story did you realize you wanted it framed around a strong female lead–from the beginning?

I think a young girl was the only appropriate choice to serve the narrative. In the kind of isolated religiously fundamentalist village in which she lives, a male protagonist would have too many options in life. His opinions might be listened to, he’d have career/education choices etc… Only someone truly trapped and lowly in status would make sense.

At points in the stories you have Henni observe differences in housing structures/architecture in her journey, what prompted you to address cultural differences in such a unique (and great) manner?

The first “outsiders” Henni encounters, proceed to claim her as a trophy and take her to their village. A village that (to our eyes) differs from hers in only the most superficial ways. But because she has seen nothing of the world beyond her home, even the subtlest deviations seem other-wordily and significant. It’s a reminder that her naivete is not in sync with the readers perceptions.

Beyond Henni, who were your favorite characters to write in this first installment? Did you ever fight a temptation to make Henni’s mother a more sympathetic character?

I really enjoyed writing Henni’s mother, who does seem hateful and unfeeling. She is a fanatical devotee of the temple, who appears unmoved by the suffering of her family. I would argue however that she’s anything but indifferent, in her mind the only way she can “save” her daughters is to eliminate the subversive influence of her husband who (from her perspective) endangers their souls and pollutes their minds. I think, in the heavy pie incident you also sense her exhaustion after years of dealing with a “troublesome” daughter. She loves Henni (in her own rigid way) and wishes to “fix” and protect her. I think if I had made her softer or more willing to compromise her beliefs, henna’s prospects would be neither grim, nor the stakes high enough to further the narrative.

Is it fair to say outsiders are a character trait you like to explore in some of your stories (not just Henni)? If so, what is the appeal for you?

I try to always write characters that I’d want to read about (Preferably a virtuous freak over a dull golden boy) After all, how excited can you really be about the inevitable triumph of a powerful heroic figure? That’s also probably why, early on, indie comics seduced me away from the tights and benevolent fascism stuff. How can I care about a character who can’t really lose or doubt or fail?

What made you want to release Henni through Z2 Comics in particular?

Josh (Frankel) had a level of understanding and enthusiasm for Henni that made Z2 a great fit from the start. As an author/artist you give years of your life to the creation of a graphic novel so it’s ideal to work with someone full of great ideas and passion to match your own.

How much do you and fellow creator/spouse Kevin Colden bounce story elements off of each other while they are in process?

We lean on each other in the editing process, more so than during initial creation of our respective work. Quick questions fly back and forth, such as: “does this read visually?” or “would you see the dead hooker’s shadow from this angle? etc.. it’s a massive asset to have another set of eyes handy, especially someone well trained and honest and who’s ego can withstand a brutal critique. I’ve inserted connective panels because Kevin pointed out where a reader might get lost,. Some of his characters have spoken more naturalistically when I’ve pointed out a bit of clunky dialog. We are both better artists / writers because we never let each other get away with lame hacky shit.

Can you talk about the color choices you made with this project?

In the past I’ve also used a limited palette (“Escape From ‘Special’”, “A Mess Of Everything”). For Henni I focused on cool lilac, turquoise and black. It signifies to the reader that this is an enclosed world, not meant to represent literal reality. It helps create an atmosphere that feels “other.”

Is it true that some of the development of Henni was on a digital platform?

Henni started as a side project on the Comixology House of Twelve App. At the time I was working primarily on a nonfiction graphic novel, but Henni was too enjoyable and exciting a project to keep on the side. The story quickly unfolded faster than I could draw and the other book was abandoned to concentrate on Henni.

Smash Pages Q&A: Paul Cornell on Creator-Owned ‘This Damned Band’ from Dark Horse

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To say writer Paul Cornell executed the modern day equivalent of Jimi Hendrix setting a guitar on fire with his new creator-owned miniseries This Damned Band is an understatement. Cornell has teamed with artist Tony Parker and colorist Lovern Kindzierski on this one-of-a-kind mockumentary 1970s era period piece where a rock and roll band which acts like they worship the devil–only to realize they really do.

Thanks to Cornell for chatting with me about this Dark Horse published six-issue miniseries. Issue #1 was released on August 5, while issue #2 comes out on September 2. Part of me hopes to chat with Cornell after the miniseries wraps to find out more in terms of the Bowie and the Kinks anecdotes.

Tim O’Shea: Which came first the idea to tackle the 1960s/1970s era of music or the storytelling device do it as a mockumentary?

Paul Cornell: I think the band encountering the occult for real was the first thought, and the mockumentary style just felt like a good way to do that.

I don’t want you to spoil the story but am I right in thinking despite the death of Robert Starkey he plays a role of some kind in this miniseries?

It’s indicative of something, but it’s not going to be referred to in the strip.  By the time we get to the end, I think readers will have gotten something extra out of it.

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‘Crisis’ at 30, Part 12

“Someday this war’s going to end,” laments Robert Duvall’s Col. Kilgore to conclude his memorable joyride through 1979’s Apocalypse Now. Similarly, as we come to the final issue of Crisis On Infinite Earths, I find myself longing (just a little) for more panels overstuffed with characters, more conversationally-expository dialogue, and even more stakes-raising plot twists.

Still, Crisis had to end sometime. Last issue introduced the singular timeline and its history. It was the first step into an era that continues to inform DC’s superhero comics. As such, issue #12 — which appeared in comics shops some thirty years ago, during the first week of November 1985 — is about cleaning up the miniseries’ last bits of clutter and getting the merged timeline ready for all its prospective readers. It’s 42 pages of wall-to-wall action, executed skillfully by the creative team.

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“Someday this war’s going to end,” laments Robert Duvall’s Col. Kilgore to conclude his memorable joyride through 1979’s Apocalypse Now. Similarly, as we come to the final issue of Crisis On Infinite Earths, I find myself longing (just a little) for more panels overstuffed with characters, more conversationally-expository dialogue, and even more stakes-raising plot twists.

Still, Crisis had to end sometime. Last issue introduced the singular timeline and its history. It was the first step into an era that continues to inform DC’s superhero comics. As such, issue #12 — which appeared in comics shops some thirty years ago, during the first week of November 1985 — is about cleaning up the miniseries’ last bits of clutter and getting the merged timeline ready for all its prospective readers. It’s 42 pages of wall-to-wall action, executed skillfully by the creative team.

Speaking of which, credits: Crisis On Infinite Earths issue 12 was co-plotted, scripted, and edited by Marv Wolfman, co-plotted and pencilled by George Pérez, inked by Jerry Ordway (who also pencilled one page), colored by Tom Ziuko, and lettered by John Costanza. Robert Greenberger was the associate editor and Len Wein was the consulting editor.

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Continue reading “‘Crisis’ at 30, Part 12”

All You Need to Know: Invincible Iron Man #2

iim2_coverRight off the bat, I think Bendis is a terrible Dungeon Master.

For those of you who have played D&D or other cooperative role-playing games, you know how hard it can be for the person running your characters through their adventures and that some of those people fall into the horrible pitfalls of being bad at planning a story. There’s one particular pitfall I like to call the Firm Boot of the DM, for when the story needs you to go somewhere and doesn’t care if you want to or not. Say there’s a wizard giving you a quest for no other reason than exactly that. Here’s your quest, go on and go adventure. You, as a player, may have questions or concerns or want some motivations from that wizard, but nope! Wizard is wise and unknowable and invincible so don’t start any fights with him, just take your quest and go. There’s always some larger war that wizard has to fight or some terrible burden he must carry, so don’t expect this Wizard to help you, just leave him alone to do some other grander thing and figure what to do next by yourself.

At least Doom gives Iron Man a next plot point to get to.

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Smash Pages Q&A: Ruth Fletcher Gage & Jackie Lewis on Oni’s ‘The Lion of Rora’

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To mark the recent release of co-writers Ruth Fletcher Gage and Christos Gage and artist Jackie Lewis’ original graphic novel, The Lion Of Rora (published by Oni Press), Fletcher Gage and jackiemakescomics were kind enough to grant me an interview.

Based on true events, the graphic novel tells the story of Joshua Janavel and the Waldensians, the first people in European history to rebel against their ruler for the purpose of religious freedom.

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Ellis, Warren Ellis declassifies his upcoming run on ‘James Bond’

Although he’s written his share of secret agents in the past — John Stone keeps popping into my head as I write this — Warren Ellis will soon get his hands on the ultimate super-spy when his run on Dynamite’s James Bond comic begins later this month.

Titled “VARGR,” the first story arc has Bond returning to London after a mission of vengeance in Helsinki, to take up the workload of a fallen 00 Section agent. In his latest Orbital Operations email, sent out this past weekend, Ellis shared several details about his upcoming run on James Bond — which, as a commission via the Ian Fleming estate, will feature the secret agent from the books rather than the movies. Or, as Ellis put it, “This is meant to be Fleming’s Bond.”

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Smash Pages Q&A: Eric-Nolen Weathington on ‘Modern Masters: Paolo Rivera’

While Eric Nolen-Weathington’s Modern Masters Volume 30: Paolo Rivera was released late in 2014, this has been my first opportunity to chat with one of my favorite interviewers in the comics industry about his latest projects. Added bonus, I had no idea that Rivera was mentored by David Mazzucchelli, so that added another layer of enjoyment for this interview.

For fans of Jim Aparo, there is good news about the long-awaited Modern Masters edition. More immediately though the next Modern Masters subject will be J.H. Williams III.

Thanks to Eric for the interview.

Continue reading “Smash Pages Q&A: Eric-Nolen Weathington on ‘Modern Masters: Paolo Rivera’”