Smash Pages Q&A: Annie Koyama looks back and ahead after 10 years

‘In some ways it does feel like 10 years when I look back on the over 100 titles published. In other ways, the years have passed quickly, perhaps due to the large learning curve I faced since I had to learn my job from scratch.’

It’s been a decade since Annie Koyama launched Koyama Press. By now her story has become something of comics legend. After a successful career, Koyama was diagnosed with a brain aneurysm, and after risky surgery and playing the stock market, Koyama made some changes in her life and began working with artists. She’s published comics and books and more, mostly with younger artists who aren’t quite as established. There’s no aesthetic that links all the work she publishes. The best known artists she’s published – and one who has established his reputation because of that work – is Michael DeForge. Koyama has also published Jessica Campbell, Eleanor Davis, Julie Delporte, Dustin Harbin, Aidan Koch, Jane Mai, Keiler Roberts, Maurice Vellekoop, Julia Wertz, Eric Kostiuk Williams and many more.

Koyama is always looking ahead, working with new talent, interested in different voices and has been key in this past decade in helping to build a comics community that encourages these individuals and build a new industry. Annie and I are friends on Facebook, have interacted online and know many people in common, but we’ve never done an interview, and I asked if she would be willing to answer a few questions about what she does. Talking with someone who’s always looking ahead seemed a good way to mark the end of the year.

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Smash Pages Q&A: Cynthia von Buhler gets magical with Harry Houdini

The comics artist, author, playwright and designer discusses ‘Minky Woodcock: The Girl who Handcuffed Houdini,’ her latest comic series from Hard Case Comics.

Over the course of her career, Cynthia von Buhler has been a comics artist, illustrator, children’s book author, playwright and designer. Von Buhler has shown an affinity for and fascination with the early 20th Century, exploring the period and many real life stories in her various projects over the years. Minky Woodcock: The Girl Who Handcuffed Houdini is a new comic series out from Hard Case Comics that she’s writing and drawing. In it, von Buhler introduces a fictional young woman who works for her detective father, still haunted by the death of her mother. She winds up working as Harry Houdini’s assistant. Houdini’s wife wants to keep an eye on him and have an assistant that she can trust. Spiritualists loathe Houdini and how he’s been debunking them. Could there be more to Houdini’s unusual death?

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‘Barrier’ jumps to print on Free Comic Book Day 2018

Brian K. Vaughan, Marcos Martin and Muntsa Vicente’s pay-what-you-want digital comic lands at Image as a five-issue, weekly miniseries coming next May.

Diamond Comics Distributors has announced the 12 Gold Sponsor comic book titles for 2018’s Free Comic Book Day, which includes titles from DC, Marvel Comics, Dark Horse Comics, IDW and more. While many publishers use the opportunity to kick off events or new series, Image is doing something interesting this year — their FCBD title is Barrier #1, bringing to print Brian K. Vaughan, Marcos Martin and Muntsa Vicente’s pay-what-you-want digital comic.

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Smash Pages Q&A: Jack Foster on super villains and ‘Gun’

‘I loved the idea of watching a person who as they get better at what they’re doing, they’re actually getting worse.’

Gun is a superhero comic that doesn’t look or feel quite like any other comic. Jack Foster self-publishes and distributes the comic through his own Reckless Eyeballs Press. It’s a book about superheroes (“capes”) and super villains (“guns”) and told from the point of view of a villain. Or someone trying to be a super villain, at least.

The first story arc involves a group of small time criminals coming into a windfall, and like all great stories of criminals who get one big payday, it all goes very wrong very quickly. The first arc was noir, but the second story arc has a different tone. Picking up a little later, the arc is an over the top exploitation involving a game called Slaughterball. A game that Foster describes as “half Death Race 2000, half Cannonball Run, with a little touch of It’s A Mad Mad Mad Mad World with super villains.”

The book manages to be what one might expect of a book centered around villains, but it also manages to subvert them at the same time. It’s about characters and conversations. There’s violence, but for the most part the book manages to eschew that. Foster paints the book in watercolors which means that it doesn’t quite look or feel like other comics and the result is something that feels familiar but manages to be surprising, funny and at times, beautiful.

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‘Cyber Force’ reloads in 2018

Matt Hawkins, Bryan Hill and Atilio Rojo revive Marc Silvestri’s first Image title.

An Image Comics original returns next year as Marc Silvestri’s Cyber Force reboots in March, courtesy of Matt Hawkins, Bryan Hill and Atilio Rojo.

“I’ve always loved Cyber Force,” said Hawkins. “These heroes are more technologically based, and we’re very close to transhumanism as it is! This story has a philosophical slant to it that is very appropriate to the changing times we’re in.”

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Smash Pages Q&A: Victor Santos

The creator of Polar discusses ‘Rashomon: A Commissioner Heigo Kobayashi Case,’ which was recently released by Dark Horse, as well as his webcomic ‘Guts,’ Jack Kirby, the Spain comics scene and more.

Victor Santos’ work might be more familiar to American comics readers than his name, though that is quickly changing. The man has put out a wide and varied body of work. He’s drawn comics and graphic novels, masterfully going from Filthy Rich to Mice Templar, Furious to Black Market, Godzilla to Sleepy Hollow. He’s currently drawing Violent Love, which is published by Image Comics. Santos is also the man behind Polar, the webcomic that he wrote and drew, which was collected in three volumes by Dark Horse.

In addition to Violent Love, Santos has two projects, one new and one old, that are out this fall. He’s launched a new webcomic, Guts, that’s available on polarcomic.com which he’s making monthly as a complete short story. The second story was released in early November. Dark Horse has just published Rashomon: A Commissioner Heigo Kobayashi Case, which collects two books that Santos made for the Spanish market. There are two more graphic novels that Santos is drawing and coloring coming out next year, as well as a film adaptation of Polar in production. Despite this busy schedule, he was kind enough to talk about his work.

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Archie Comics announces new ‘Dick Tracy’ series

Michael Moreci, Alex Segura, Thomas Pitilli and Dee Cunniffe team up to bring the yellow-clad detective back to comic books.

Hold on to your fedora — Dick Tracy will return to comic books next April, courtesy of Archie Comics.

The series will be co-written by Roche Limit and Hoax Hunters writer Michael Moreci and Archie Comics co-president (and crime novelist) Alex Segura, with art by Thomas Pitilli and colorist Dee Cunniffe.

“Dick Tracy has always been a character that stands shoulder to shoulder amongst the best–Superman, The Shadow, Conan the Barbarian, Spider-Man, you name it,” Moreci said in a press release. “There’s been so many great Dick Tracy stories over the past 75 years, and that’s such a testament to his versatility, his amazing–unbeatable–rogues gallery, and what he represents.”

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Smash Pages Q&A: Jason Thompson and Jumana Al Hashal on ‘Cartooner’

Jason Bradley Thompson and Jumana Al Hashal discuss going from gamer to creator.

What’s it like to go from gaming to creating your own games?

The husband-and-wife team of Jason Bradley Thompson and Jumana Al Hashal have plenty to say on that topic. Both are serious gamers who are running a Kickstarter campaign to fund their second game, Cartooner: The Fast & Furious Game of Drawing Comics. Cartooner focuses on the creative elements of comics and allows anyone who can draw a stick figure to make their own—while the clock is ticking. We talked to Jason and Jumana about how they created a game that turns the players into comics creators, and they also shared some of the game art by Konstantin Pogorelov.

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‘Black Hammer’ saga continues in ‘Doctor Star & The Kingdom of Lost Tomorrows’

Artist Max Fiumara joins writer Jeff Lemire on a new miniseries spinning out of the Eisner Award-winning series.

Jeff Lemire and Dean Ormston’s award-winning, best-of-2017 list making and genre-defying Black Hammer returns next year with a new series, but that isn’t the only Black Hammer story to look forward to. Dark Horse has announced another spinoff miniseries, Doctor Star & The Kingdom of Lost Tomorrows by Lemire, Abe Sapien artist Max Fiumara, colorist Dave Stewart and letterer Nate Piekos

Doctor Star & The Kingdom of Lost Tomorrows follows the first Black Hammer spinoff, Sherlock Frankenstein & The Legion of Evil, which is out now. The “dual-narrative” story stars Golden Age superhero Doctor Star, an aged crime fighter trying to reconnect with his son, who he hoped would take over his superhero identity.

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Cryptozoic pumps it up with collectible DC high heels

Wonder Woman, Harley Quinn, Supergirl and more inspire line of ‘DC Pumps.’

Cryptozoic Entertainment is releasing a line of collectible shoes inspired by “the costumes, props, and personalities of DC’s favorite female heroes and villains.”

The “Pumps” line will include nine 2.25-inch vinyl figures of miniature high-heeled shoes — each with its own “blind reveal” shoebox — finished with pearlescent, metallic and/or glitter paint. The shoes included in wave one are Wonder Woman, Harley Quinn, Supergirl, Catwoman, Batgirl, Hawkgirl, Poison Ivy, Mera and Black Canary.

DC Pumps will be available at retailers this month for a suggested retail price of $9.99 each. You can see them “in action” in this unboxing video.

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Smash Pages Q&A: Takeshi Miyazawa on ‘Mech Cadet Yu’

The artist discusses his latest project with writer Greg Pak, involving giant robots, an interstellar war and the teenager in the middle of it all.

Takeshi Miyazawa has been drawing comics for years now. Some of us first noticed his work in Sidekicks and Love in Tights, others noticed his work when he started working for Marvel, with his runs on Runaways and Mary Jane and Ms. Marvel.

His current project, Mech Cadet Yu, is a book he co-created with writer Greg Pak and is about an interstellar war, an alien invasion and the unlikely teenager who finds himself at the center of this. It’s hard to make a book about giant robots that looks and feels new and dynamic, but Pak and Miyazawa have done just that. In every issue they manage to expand and deepen the world they’ve established in fascinating ways.

Next month the fifth issue of the series, and a collection of the first four issues come out, and Miyazawa answered a few questions about the project.

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Comics Lowdown: Comic-Con International wins trademark suit

‘Comic con’ belongs to Comic-Con! Dr. Seuss Enterprises v. ComicMix! Plus Connor Willumson, behind the scenes on comiXology’s Guided View, recent personnel changes and more!

Legal: Comic-Con International won its trademark suit against Salt Lake Comic Con on Friday, when a jury determined that “comic con” is a trademark, and that Salt Lake Comic Con’s use of it was likely to confuse the public. However, the jury did not grant CCI the $12 million in damages that was requested in the lawsuit; stating they did not believe the infringement was intentional, they awarded CCI $20,000 for advertising to clear up any confusion.

Rob Salkowitz lays out the history of the case and the possible implications at Forbes, pointing out that some conventions already pay CCI a licensing fee for the use of the term. He also noted that the organizers of SLCC, Dan Farr and Bryan Brandenburg, tried to paint themselves as the Davids to CCI’s Goliath and ran a crowdfunding campaign to pay for their legal fees—but they also gave themselves $225,000 in bonuses. At the trial, however, CCI produced a survey that showed more than 70 percent of respondents identified the term “comic con” with the San Diego event.

In a statement released later that day, CCI reiterated that the trademark was theirs and that they had worked for almost 50 years to build that brand. “From the beginning all that we asked of the defendants was to stop using our Comic-Con trademarks,” the statement said. “Today we obtained a verdict that will allow us to achieve this. For that we are grateful.”

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