‘The Rattler’ strikes again at Image Comics

Jason McNamara and Greg Hinkle’s crowdfunded graphic novel finds a new home.

Following a successful Kickstarter in 2014, Jason McNamara and Greg Hinkle’s The Rattler has slithered over to Image Comics for a “mass market” release.

Inspired by true events from McNamara’s own life, the horror graphic novel is about a guy whose fiancée vanished without a trace and, 10 years later, he starts hearing her voice.

“The story was inspired by true events that happened to me on a road trip years ago,” McNamara told me last year. “I’ve written an afterword to the graphic novel that gets more into it, but basically a female friend and I were on a road trip and had a breakdown in a rural area of California. A seemingly helpful motorist stopped and offered to tow our car. Instead, he took off with my friend and left me behind. Luckily, in the true events she was able to get away, and we were able to get help. But I always wondered: What if she didn’t get away? What if I had to live with that? That was the inspiration for The Rattler.”

The Image Comics release will have a new cover and one new page, and is due out in March. If successful, McNamara hinted to the project’s Kickstarter backers that a sequel could follow. Check out the cover for the new release below:

rattler-cover-image

The Moment: Huck

huckIn this week’s edition of The Moment, I detail how in some ways Huck reminds me of Mark Millar’s 1998 Superman Adventures run.

Superman Adventures remains the high point so far 0f Millar’s work, serving return to that form dating as far back as 1998. Huck is an incredibly likeable character in the way he is characterized in these first two issues there’s an unseen optimism to him I don’t know if it will last but all I know is it’s really a refreshing change from a lot of comics currently on the market. The moment that hooked me was from issue 2 when he could have quit but he chose to presevere and help people as he always does.

Rafael Albuquerque on art is merely icing on the cake.

Smash Pages Q&A: Hardman & Bechko on ‘Invisible Republic’

irThis interview, as always with Gabriel Hardman and Corinna Sara Bechko (this time about Invisible Republic) has several gems of insight. In this Hardman notes “I want to point out how lucky we are at this point in time that the comic book industry is a place where we can tell a long form story like Invisible Republic that’s aimed at adults. That’s no small thing.”

Tim O’Shea: First off, how early in the development of the story did you realize that was easiest to mark the passage of time by making Maia’s hair red?

Gabriel Hardman: I’m always looking for simple visual signifiers like that because the content of the story we’re trying to tell is fairly complex. At least it’s heavily serialized and there’s a lot for readers to keep up with. A character having red hair in the past, then gray hair 40 years later, is money in the bank for clarity.

What were the other biggest challenges when denoting the passage of time in this time-sensitive story?

Corinna Sara Bechko: The most apparent challenge is making certain that both time lines look distinct enough for the reader to immediately tell them apart. But there’s another side to this that visuals can’t help with at all. I’m referring to the internal logic of the story, and making certain that both timelines match up when they refer to the same event, or when one event informs another. That’s an aspect that we’ve been meticulous about crafting, even though it gets more complex the further we get into the narrative. I’ve read about authors who devote whole rooms of their house to drawing out timelines on the walls for complicated stories, but I never quite believed it. Well, I’m starting to think we should do the same!

Hardman: Agreed. The relatively simple part is distinguishing the time periods visually. Keeping the content straight is the massive undertaking.

How critical was Jordan Boyd’s coloring in terms of the success of the story?

Bechko: Jordan shoulders a tremendous burden in terms of the storytelling in this book since his colors are the most immediate way that readers can tell the two timelines apart. It was immensely important to us that we work with a colorist who understood this, and who really “got” the mood we were going for.

I cannot praise Dylan Todd’s overall design sense on this book enough. What kind of instructions did Gabriel and Corinna give Dylan?

Hardman: It was actually a very painless process. Dylan had designed the print collection for my solo book KINSKI so when he came onboard for IR, there was already a relationship there. I gave him some references for the kind of thing we were looking for in the design of the supplementary pages and logo and he nailed it with few revisions. I like it what creative work goes easily.

Which supporting characters have exceeded your initial expectations?

Bechko: Definitely Woronov, the female reporter in the present. She wasn’t going to have a large role at first, but she just insisted on it. And Henry’s role has become a lot more important as we’ve scripted the second arc. It’s always interesting when characters go places you don’t expect.

Hardman: Woronov is definitely a favorite character to write. And it will be fun to show that Henry isn’t just Maia’s henchman as we move forward.

With an iconic character like McBride how hard was it write him in a manner that gave him depth versus the caricature of merely a charismatic leader?

Bechko: It’s almost a cliché to say that everyone is the hero of their own story, but Arthur McBride definitely things of himself in that way. As long as we remember that, it’s not hard to make sure that he’s got some dimension to him.

Hardman: Also, we are strictly operating under the idea that characters are defined by their actions. If there are conflicts and contradictions in Arthur’s behavior, that’s how he keeps from becoming a cliché. But at that, Arthur isn’t the main character, Maia is. She’s the one we have to worry about the most.

What was the key to getting the right voice for Croger Babb?

Bechko: I think we’ve all met people like Croger. He means well, most of the time, but he’s a bit myopic about certain subjects. He’s kind of an amalgam of several people, and we try to keep in mind what an actual person in his position would care about and do. He’s not a super hero, he’s just a really stubborn guy with a bit of an overblown sense of his own importance.

Hardman: There is one specific person that Babb is based on but I’m not saying who.

Gabriel, I love your use of white space to let some of the panel layouts breath. Can you share your thoughts on that front.

Hardman: In part, the lack of panel boarders are one of the simple ways we define the pages set in the present. It gives the impression of more white on the page. But more broadly, I tend to use a lot of texture and detail so you need some negative space so the art doesn’t become busy and overwhelming.

Anything we should discuss that I neglected?

Bechko: I want to take a moment to point out the fauna and flora of Avalon. A lot of this will become important later, but so far it’s been a bit in the background. Even so, Gabriel is designing some really cool creatures. We’ll learn a lot more soon about Jo the “dog,” for instance.

Hardman: I want to point out how lucky we are at this point in time that the comic book industry is a place where we can tell a long form story like Invisible Republic that’s aimed at adults. That’s no small thing.

Thanks for giving us this chance to chat about our book, Tim!

The Moment: Huck 1

huckIn this week’s edition of The Moment, I detail how in some ways Huck reminds me of Mark Millar’s 1998 Superman Adventures run.

Superman Adventures remains the high point so far 0f Millar’s work, serving return to that form dating as far back as 1998. Huck is an incredibly likeable character in the way he is characterized in these first two issues there’s an unseen optimism to him I don’t know if it will last but all I know is it’s really a refreshing change from a lot of comics currently on the market. The moment that hooked me was from issue 2 when he could have quit but he chose to presevere and help people as he always does.

Rafael Albuquerque on art is merely icing on the cake. 

 

 

 

Smash Pages Q&A: Phil Hester on Image ‘Mythic’

Late September saw the release of Mythic #4 the Phil Hester John McCrea comic — to mark the release I interviewed Hester.

Tim O’Shea: You got the news that MYTHIC #1 just passed 400,000 in sales. How does that feel?

Phil Hester: Well, it was a joke. I meant we passed 400,000 PAGES of Mythic #1 sold. That said, our numbers have been very encouraging and we look forward to a long run with the book.

You pointed out things happen in MYTHIC that have never been seen in a comic book before. Care to elaborate?

We’re always looking for ways to turn things on their heads. Little moments reveal themselves while scripting the book that I’ve never seen in comics before, like Nate being motorboarded by a cow udder, or a little girl absorbing a Norse fire god with a flashlight etc. Those might seem like asides to the main plot, but they give the book its true character and are the most rewarding scenes to create.

The cold open for the first issue details several weeks before the action begins.

Yeah. We wanted to move back and establish a little bit of Nate’s backstory before jumping right into the first adventure.

Are there characters you ended up liking beyond initial expectations.

Sure. I mean, if a book works, that’s always going to happen. I must say, I haven’t enjoyed characters I’ve created this much since Golly, also from Image. I ahve to fight to keep from introducing even more characters because they’re so much fun.

A baby man wrestling an alligator what inspired that?

More of that “let’s do something new” impulse both John and I can’t control. Probably not the weirdest thing you’ll see before this is all over.

How vital is john to the inherent left field success of the series?

Oh, he’s integral, along with Rian [Hughes] and Mike [Spicer]. If the book didn’t look so good, people wouldn’t be curious enough to crack it open in the first place. Once we get them into the story, odds are we’ll connect with people who share our similar tastes for weirdness.

Smash Pages Q&A: Image’s ‘Ringside’ Creative Team

The next Image Comics ongoing series from writer Joe Keatinge (SHUTTER, Adventures of Superman), RINGSIDE, introduces artist and co-creator Nick Barber for an ensemble drama set around the world of professional wrestling. An exclusive teaser trailer featuring all-new material from RINGSIDE #1 will debut in THE WALKING DEAD #147 in stores on October 14th and will outline the new series’ characters and storyline for the very first time. To mark the upcoming release Smash Pages Tim O’Shea spoke with Keatinge, Barber as well as colorist Gough and letterer Maher.

image

Simon please discuss the muted coloring approach to the series?

Simon Gough: Well, the colouring process is very simple compared to a lot of other work I’ve done, and I’m trying to get that balance of not over rendering like i’m used to, which in turn is letting me play around with the colours a lot more. Its great to get a job where I have time to experiment with the palettes, and put more effort into that side of colouring, as usually its quite technical and can be repetitive. Its hugely important for me to work ‘with’ Nick lines for this book too, and Nick has been nudging me in the right direction, so its been great collaboration as well. The whole team have been working hand in hand throughout to get the pages where we want them.

The issues so far all go through a fairly broad spectrum, where I’m trying my best to give a distinction for each scene.The emphasis on the muted colours will change depending on the mood or action that’s going on, so hopefully you’ll see some noticeable changes in emotion throughout as the story unfolds.

Ariana care to discuss lettering approach?

Ariana Maher: There’s a slightly uneven aspect to the word balloons to reflect the content of both the script and art. A clean, uniform style in the balloons and the text – the sort of style that could work for a different series – would look too sterilized and out-of-place in Ringside’s world. Imperfect works best here. I have to put thought into making mistakes in a mindful way. Though, hopefully, no one will give those details any notice. If readers get drawn into the book without distraction, then I’ll know the lettering works.

I’m looking forward to working on sound effects in Ringside. It’s a bold, harsh world. There are some very loud moments, so accentuating those scenes gives me some very enjoyable challenges to work with. I’ve already had some fun with the very first page of issue #1 because I’m bilingual and the guys didn’t stop me from goofing off with some of the fliers and signs.

What goes into your philosophy for the art Nick?

I’m a fan of high contrast, noir style artwork so that’s definitely the design philosophy I use. On RINGSIDE the art is literally rough around the edges, I’ve been tweaking exactly how rough to go with it – but wanted something that conveyed the tone of the story. Less-is-more is definitely the rule I go by with my stuff – I hate reading comics where the energy has been suffocated by overworked art. But yeah, pretty much my philosophy is how can I tell the story and convey the acting simply and clearly.

Can both of you single out characters that are really growing on you in the creative process?

Nick: All of the characters have become really special to me. Everytime there’s a new script I’m anxious to see what’s happening with each of them. As far as a creative process, I definitely have a sliding scale or how I want a character to look in a certain panel depending on what they’re feeling or conveying. So that’s part of a growth process too – I will push faces into a pretty cartoony area if it feels right, other times maybe go more ‘realistic’ I like having the freedom to do that. Sometimes it’s trial and error of what is more appealing or what might have been too far (either side of the scale). I think playing around with their design like that has made me really fond of the whole cast, I feel like I know their faces, their clothes, their environments etc pretty intimately now that I’m heading towards finishing the first arc of the story.

What are the biggest advantages to publishing with Image?

Nick: I’m new to comics, so Image is the only publisher I’ve worked for so far. In that regard it’s pretty hard to compare it to any other publishers. But one of the things I really like about Image is the freedom you get to create your own book. Our team is small, but we’re all on the same page with the look and feel of this book. There isn’t any meetings going on elsewhere about what should be happening in RINGSIDE – it’s completely up to us. Ownership is obviously a huge advantage – it feels really nice to be creating something with Joe that we own. Another advantage of working with Image is how good everyone there has been on the publisher end of things – a really great team, they’ve helped get the word out about RINGSIDE – obviously first announcing it at Image Expo which led to a lot of excitement.
Can both of you single out characters that are really growing on you in the creative process

Joe: It’s a bit of a cheap answer to say, “all of them,” but that’s part of the point of the series. How all these different characters from all these different perspectives and backgrounds interact. What one’s actions has an effect on someone they otherwise never knew. As it builds, it’ll become more evident.

What are the biggest advantages to publishing with image

Joe: Everything. There’s no better place to have total control over your own work. No one gives the same level of ownership as they do. Other companies will claim you keep 100% of your copyright, sure, but then they tie you in forever on print rights or digital rights or foreign rights or media rights. There’s always something. And some of those companies do a great job of making sure they earn their cut, but I find that Image just works best for me. If you want total freedom without anyone else, they’re great. If you want the support of a huge team who knows their shit, they’re perfect. I choose for something in the middle, where I regularly talk sales with Corey Murphy, publishing with Eric Stephenson, marketing strategy with Kat Salazar, production with Addison Duke, design with Drew Gill and so on and so on. They have been a major help on every single level. They’re an essential part of the team behind Ringside.

And even still, Nick and I choose everything. Our paper stock. Our pagination. What ads go in the book, if anything. Who represents our media rights, what kind of cut they get, who we bring on for editorial (because I love working with a good, simpatico editor), who does our logo, who colors the book, who letters the book. You don’t get to do that to such a degree anywhere else. Plus it helps their brand is so damn strong right now. My weird world explorer book can thrive in tradepaperbacks. I’m looking forward to what they do with this wrestling ensemble drama. No one’s able to compete on the same level with creator-owned work; the numbers speak for themselves.

Look, I’ve worked with other companies, loved doing it and will likely do it again, but for the type of work I’m doing now, which is largely creator-owned, original series, Image and their subsidiary, Skybound, have been amazing to work with.

Has anyone ever said there was a Tintin quality to your art Nick?

Nick: No! But I’ll take it. Personally I don’t see it, but I love Hergé. The big influences on this book (and my work in general) were Jose Munoz, Hugo Pratt, Eduardo Risso, Gabriel Ba, Taiyou Matsumoto, Rueben Pellejero, Toth… a lot more, just that high contrast school of cartooning. I don’t think I could ever work as cleanly as Hergé!

Has anyone ever said there was a Tintin quality to Nick’s art?

Joe: That’s funny, even as big a Hergé fan as I am, I didn’t pick up on it until you mention it, but you’re totally right. I can see it in Nick’s character’s facial expression especially. Interesting call, even if it’s unintentional.

What did both of you most enjoy about that two page spread wrestling scene?

Nick: For me that was just about making a really BIG page turn. The moonsault is a really dramatic move, it sort of slows down time. The opening pages of issue one really ramp up this spread beautifully so I wanted to hit the right note. It places the reader right there at ringside too. It’s a cinematic opening to what is going to be a really epic ongoing series.

What did both of you most enjoy about that two page spread wrestling scene

Joe: I’ve been thinking more and more in how to keep a reader’s attention. There’s more distractions than ever or, at least, more ways for the things in our lives to distract us. With Shutter, I started writing on the Inside Front Cover, so you’re instantly immersed in the comic book. You are in the world without a beat of a credits page or ad to distract you from it. With Ringside, we’re largely a slow burn book, but I wanted to work in something which similarly immersed you in the world, but also gave a rough idea of the different perspectives we’d be seeing it from through the first arc. As readers will see, we have a slow burn, somewhat dense with panels, until a huge kick in the ass of a double page spread, made beautiful by Nick and Simon, with Brandon’s massive logo and Ariana’s design completely selling it.

‘Nowhere Men’ returns with new artist Dave Taylor

Taylor takes over as artist from Nate Bellegrade with issue #7, which arrives in January.

Nowhere Men, the “scientists-as-rock-stars” comic by Image co-publisher Eric Stephenson, artist Nate Bellegrade and Einser award-winning colorist Jordie Bellaire, will return in January with a new artist, Dave Taylor (Batman: Death by Design, Judge Dredd, Prophet).

“It’s very cool to work on something you admire,” Taylor said in the press release. “My respect for the first series is making me work extra hard to fulfil Eric’s concept to the end, in fact, this is the best work I’ve done for years.”

Issue #7 picks up after the cliffhanger that issue #6 left us with two years ago. “It’s really exciting to finally be returning to Nowhere Men,” Stephenson said in the press release. “I’ve admired Dave’s work since I first saw it back in the ‘90s, so learning that he was a fan of of Nowhere Men and interested in working on the book was nothing short of amazing. It’s awesome to be working with him, and I’m looking forward to seeing how his style develops as we further explore the landscape created by World Corp.”

The comic tells the story of a Beatle-esque group of scientists — Dade Ellis, Simon Grimshaw, Emerson Strange and Thomas Walker — as they rise in fame and subsequently fall pretty hard when their experiments take some dark and ghastly turns.

The change in artist comes as no surprise, as Bellegrade, who received an Eisner nomination for his work on the book, release two long essays on the comics’ delays and why he wouldn’t be continuing with the series this past summer (available here and here). In that second post, he noted:

To be very honest I would have to admit that I am to some degree angry in a very general and radiant sense. Reason would show that the only person I could be angry about in this situation is myself. It wouldn’t be reasonable to be angry with Eric for not continuing to wait for something he had no guarantee of ever occurring. It wouldn’t be reasonable to be angry with Jordie or Steven for taking his side either. I am angry and therefore I can only be angry at myself because I have unknowingly manufactured this outcome. I am angry because for the past five years the bulk of world-building and character design has been for story elements that have not yet come to pass and now they never will. Ideas for devices and architecture and fashion and cultural landmarks that have so far only existed in my head, stored for future use. Sketches for covers that will never see print, diagrams of Dr. Kurt McManus’ new physiology, drawings of paintings made by Daniel Pierce’s much older sister. I used to know what was going to happen to Dr. Susan Queen, but now I do not. The worldline where those things happen has closed off, the future where they were part of the story winked away into nothing, they were not destroyed but never occurred in the first place. So I am angry that, through my actions, the years of creative euphoria and collaboration where I felt anything was possible were torn away from meaning and crushed into nothing.

Bellegrade is a hell of an artist and left some big shoes for Taylor to fill on the title; best of luck to him as he moves on to his next project.

You can chekc out the covers for issues #7 and 8 below.

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