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By: Heidi MacDonald
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Straight from the offices of Publishers Weekly, it’s More to Come! Your podcast source of comics news and discussion starring The Beat’s own Heidi MacDonald.
In a More To Come interview special episode, Heidi talks with acclaimed indie comics creator Jeff Smith about his Eisner-winning kids’ fantasy epic Bone, his adult sci-fi tale RASL, the advantages and difficulties of being your own publisher, his new Paleolithic webcomic Tuki Save The Humans and much, much more on this episode of Publishers Weekly’s graphic novel podcast. in this podcast from PW Comics World.
Now tune in Fridays at our new, new time for our regularly scheduled podcast!
Stream this episode and catch up with our previous podcasts through the Publishers Weekly website or subscribe to More To Come on iTunes
Indie comics folk around Brooklyn and beyond have been quietly grieving over the imminent end of Cartoon House, a giant loft in South Williamsburg inhabited by a bevy of cartoonists over the years, and scene of many someday legendary comic book people events. In the first in a series of micropress profiles for Publishers Weekly, Robyn Chapman looks at the history of Cartoon House and the publishing companies of its three most prominent members, Bill Kartalopoulos, Austin English and Dave Nuss.
As cartoonists moved in, the parties became frequent and, at times, legendary. The final Brooklyn Comics and Graphics Festival after-party last November was packed shoulder to shoulder with cartoonists from Chris Ware on and featured a spontaneous wrestling match between Hot Dog Beach’s Lale Westvind and RAV’sMickey Z.
More than being an ideal party locale, Cartoon House offered Kartalopoulos, English and Nuss a comfortable space in which to publish. In a city where the one-bedroom “micro apartment” measures just 300 square feet, it’s a luxury to have enough space to store book inventory.
Cartoon House was indeed one of a kind, and the last throwback in the city limits of the group living situation that often fired up idealized visions of New York City: a big raw space where artistic folks could be wacky and creative. It was also the place where you could dip cookies into frosting and call it a snack. Cartoon House is definitely a “you had to be there” thing, and if it wasn’t as protean as Fort Thunder, it will probably give birth to as many stories.
Bill K. informs us that the final move out date is in November—the raw space will probably be divided up into a couple of apartments which will rent for sickening amounts. Will there be one more big party? It would be sad if there weren’t.
Esteemed comics scholar Jeet Heer has just written a book about RAW and New Yorker Art Director Françoise Mouly entitled In Love with Art: Françoise Mouly’s Adventures in Comics with Art Spiegelman. Art comics enthusiasts won’t need to know much more than that, but here’s an excerpt that reveals the behind the scenes story of the famous 9/11 New Yorker cover of black-on-black towers:
She still felt that no image—painting, drawing or photo—could do justice to what she and the rest of New York had just experienced. She had another idea: What about an all-black cover? A cover that, as per her neighbor’s argument, wasn’t a cover. Spiegelman wanted his image to run but thought that if the New Yorker was going that route, it should be combined with his own suggestion: How about a silhouette of the towers against a black background, black on black? “That actually felt like the most creative solution,” Mouly says now. She drew up a cover based on their ideas. “When I saw it, even before I presented it to my editor, I was like ‘Oh my god, this actually is the answer, the negative answer, to what I was looking for because it is such a strong statement.’”
It’s an interesting piece on the thinking that goes into the making of such a famed conceptual image.
Okay this is one project that really truly deserves all your support! IT’s The Scary Godmother Doll designed by creator Jill Thompson. As you can see from the pictures the detail and appearance is amazing. And for $5 you get A BRAND NEW JUST FOR THIS KICKSTARTER SCARY GODMOTHER COMIC.
A brand new, 10 page, painted Scary Godmother story created specifically for this Kickstarter. Follow the Scary Godmother and her Monster pals as they make their way to the Spectral Six Convention! The first new story in quite a long while! Plus cool pinups by some of comicdoms most excellent artists! Like Jaime Hernandez, for example!! Available to you as a digital PDF! (Wanna be IN this comic? Check out the I’M READY FOR MY CLOSE UP incentive below!)
The project has raised some money but has a bit to go, so if you want to see one of indie comics most distinctive characters get a fantastic doll, go check out all the incentives.
When the story broke about J. Michael Straczynski replacing Ben Templesmith with CP Smith, as artist on his Image series Ten Grand after Templesmith went into extreme radio silence, many wondered if Templesmith was okay.
We reached out to him and he emailed back to say he had apologized to JMS, and the communication breakdown had been entirely his fault. He explained he has just been through, in addition to some personal matters, “a rather catastrophic move to Chicago where a bunch of my stuff is missing and I got other people’s things, that only finished yesterday. It’s been a rather stressful time.” All this took him off the grid for a while.
But, he continued, “I’m the only one to blame and am apologetic.” He promises to get back on social media soon after he gets the rest of his affairs sorted and wishes Smith and JMS luck on the book.
If we can break into our own endorsement here, while it doesn’t change the Ten Grand problem, and it was an extreme example, these things happen. Templesmith is known as a fast and reliable (and excellent) artist most of the time, and moving sucks. Hopefully everything will be back on an even keel for him very soon and we wish him the best.
UDPATE: And JMS Facebooked:
Finally heard from Ben today…we had a great email exchange, very positive, we’re moving on but remain on really good terms regarding future work on other projects…more later.
“As more people are able to make a living doing it, I think we’re moving into an atmosphere were creators are able to define their careers more than creators in the past have been able to,” he observes. “Relying on Marvel and DC is no longer becoming a viable option, because the contracts aren’t viable and the rates aren’t set. They make the rules. A lot of people have fooled themselves into thinking that’s stability but are now realizing that it’s the exact opposite. The real stability is controlling your own career and being in a position to hire yourself, generating ideas that are enough to make you a sustainable income, and also controlling those ideas and your own destiny. That’s the new stability and that’s something people are realizing. I’m very optimistic that it’ll be something that is here to stay.”
Via a Graphic NYC
profile by Christopher Irving and Seth Kushner.
I don’t know why I didn’t think of her earlier. Becky Cloonan was featured in Oprah’s magazine for crying out loud.Becky teamed up with Brian Wood on Channel Zero in 2003. The book was originally published by AiT Planet Lair, but thankfully the good folks at Dark Horse recollected the series with a great introduction by Warren Ellis. Cloonan and Wood went on to create Demo: a beautiful series of stories about troubled youth with supernatural powers that landed her an Eisner nomination in 2005 for Best New Series. The duo also worked on Northlanders and Conan The Barbarian. In 2007 she was nominated for another Eisner for her work on American Virgin with Steven T. Seagle.
She also published one volume of East Coast Rising with Tokyo Pop, which earned her another Eisner nomination for Best New Series. Becky left her mark on Batman in issue #12, which started a new character Harper Row. She also teamed up with Scott Snyder again and provide art for Swamp Thing #12. Beckyalso co-created The True Lives of the Fabulous Kill Joys with Geard Way and Shaun Simon, and it’s set to release in June. Cloonan has been a long time advocate of creator owned comics and is currently self publishing The Mire, Wolves, and Dracula.
Here’s a special treat, everyone – Laura Howell, creator of Hell on Toast, The Bizarre Adventures of Gilbert & Sullivan, and the FIRST female cartoonist to draw for The Beano. Yes! The very first! Incredibly fun, handy with a pun, and excellent at delivering gags, Howell is one of the UK’s most underappreciated cartoonists. She also, her twitter feed informs me, REALLY likes biscuits. Incredibly prolific, she takes part in several mini creative events online every year, such as her strip-a-day marathon. Furiously funny, you can see more on her website, or find her on the twitters!
It was an inevitability that I’d mention Fionnuala Doran as one of our 24 women cartoonists. Having had work featured at various galleries around Ireland (where she hails from), she recently joined Studio YOLO under the keen, never-swaying eye of Dean Haspiel. Her work has a brilliant use of structure and style, cramping panels together in different and interesting ways to accentuate the important points in each sequence. Expressive and off-kilter, her artwork points her out as somebody I think we should all be watching out for in future. She’s my favourite!
She also has an obsession with corgis. You can find more from her over on her site!
The creator of 164 Days, Kirsty Mordaunt has a lovely sense of style in her character designs, which boosts them off the page. Based in Lincoln, the flattest place in the world, Mordaunt won the Northern Design Award for illustration in 2009, and has been pushing forward with her work ever since. After setting up 164 Days in 2011, readers have seen her linework become crisper and cleaner, and her art improving with every new page. I hope she builds up a gigantic audience over the next few months, because she’s brilliant. You can find 164 days right over here, or follow her on the twitters!
Feeling adventurous I journeyed out to an unfamiliar part of Bushwick last night for an opening night party for the new issue of World War 3 Illustrated. Founded in 1980, this comics magazine has been charting politics, struggle, and social causes around the world for more than 30 years. The latest issue’s theme is “The Other,” surely a propitious one. I’ve yet to read the whole issue but the parts presented last night were quite striking.
The new issue was edited by Hilary Allison and Ethan Heitner, two recent SVA grads. Part of the WW3 process is getting new cartoonists involved, and it wouldn’t have lasted this long with it, said co-founder Peter Kuper, who showed a slideshow covering some of his cartooning life. The evening started out with Sabrina Jones talking through “Kemba Smith” an excerpt from her just released book Race to Incarcerate: A Graphic Retelling an adaptation of Marc Mauer’s book on America exploding imprisonment rate. “Kembra Smith” is about a 24 year old pregnant woman from a good family with no previous record who was sentenced to 24 years in prison for various offenses related to her boyfriend’s drug dealing, such as owning the car he used for deliveries. Smith’s family mortgaged their house to pursue some justice for her, and after 7 years in prison, she was was pardoned by Bill Clinton—it’s the kind of tale of injustice that comics can present in quickly relatable fashion.
Cartoonist/filmmaker Sandy Jimenez read “Single Lens Reflex” a story from his childhood in the devastated South Bronx about two foreign exchange students who came to take pictures of him and his friends. Jimenez did something I’ve never seen at a comics reading before: at the climax of the story—the two youngsters barge into an exhibit of the photos of them—and stopped and said “What did they see? To find out you’ll have to buy the issue!” Needless to say, I was glad I had a copy! His story was powerfully written, the art just along for the ride to get the point across—a fairly common style for WW3.
Kuper’s slideshow was a whirlwind tour through 30 years of political unease, from the dread of impending nuclear disaster that gave the book its title to 9/11 to Occupy. Kuper is currently teaching a comics course at Harvard University—surely the most expensive comics class in the world.
Next, another comics event innovation, an interview via Skype with Ganzeer, an Egyptian cartoonist and muralist who has been involved with the continuing political unrest in Egypt. It was a fascinating look into a world where your art can not just draw nasty comment threads—it can get you arrested or worse. His art appears in small zines but much of it is street art—political graffiti. Ganzeer said he grew up reading American superhero comics but “I would go to the store one month and there would be one issue of Spider-Man, and the next month one issue of something else. I never knew how the stories came out!” He’s currently involved in distributing thousands of posters spotlighting sexual harassment. Asked about th dangers of his job, he said he had been arrested once but the worst was when an angry mob had been drawn to a mural criticizing the military he was putting up. “I got away but the mural didn’t,” he said.
There were further readings by Kuper and Seth Tobocman, but I had to depart due to an incipient allergic reaction to something in the sprawling art space that housed the event. (About that art space, The Silent Barn, I wandered around some of the other rooms and there was one piece that actually made me scream aloud in fright: a garbage bag full of mysterious pink liquid that suddenly began shaking when I walked over to look in it! Good one! it’s also home to the D!tko Zine Lbrary. )
All in all another night in the vital tapestry of the New York comics community. WW3′s comics don’t fall into the beautiful or striking schools of indie comics—a lot of the art is raw and emotional, which gives it power. It’s very much in the underground tradition of the just collected Anarchy Comics. As rough as it sometimes is, it’s still a vital example of comics’ ability to influence and editorialize.
Before I left I got a chance to chat with Jones, a longtime cartoonist whose day job is as a scenic painter for the stage. Her current gig is working on Saturday Night Live—only two days a week but a frantic two days.
As I waited for the train home on the bitter cold platform, an icy snow swirling around me, I thought about how SNL and WW3 are both long running examples of New York’s creative scene (granted one is big and commercial, one barely makes money), and how both have seen constant change and evolution in their creative line-ups. Perhaps my biggest takeaway of the evening was gratefulness that Allison and Heitner have stepped up to keep WW3′s unique legacy relevant.
Cartoonist Nate Powell (left) along with Rep. John Lewis and writer Andrew Aydin—all collaborators on the upcoming graphic novel March—walk across the Edmund Pettus Bridge in Selma AL, March 2013, where in 1965 600 marchers protesting for civil rights, among them Lewis, were tear gassed and beaten with clubs by police.
Photo by Sandi Villarreal.
Hat tip Tugboat press
The 90-year-old creator of NonNonBa, Onward Towards Our Noble Deaths, and such yokai masterpieces as GeGeGe no chows down with relish. As recounted in the semi-autobiographical Onward Towards Our Noble Deaths, Mizuki lost an arm in World War II, but that hasn’t prevented him from going to McDonalds.
By: Heidi MacDonald
Blog: PW -The Beat
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, Abraham Cahan
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Towards the end of his life, witnessing the rise of the graphic novel as a format, Will Eisner commented on the fact that his books formed a subsection of the graphic novels display at a large bookstore by clarifying that his desire was to see his books shelved in the literature section alongside works by Jewish-American novelists of his generation (as expressed in an interview with David Hajdu). It’s enough to make you chuckle that he wasn’t pleased enough with the impact his books had on pushing the graphic novel format forward in American comics, but at the New York Comic and Picture-Story Symposium on the 11th of March, an Eisner-Week event critiqued the comparison between Eisner and his generation of fellow writers to see if his work stood up to his own claim of similarity. Speakers Jeremy Dauber (Professor in Yiddish Studies at Columbia University) and Danny Fingeroth (educator, author, former Marvel Comics editor and Chair of the Organizing Committee for Will Eisner Week) investigated Eisner’s use of setting, dialogue, and themes, as well as common cultural references he shared with his generation, to place Eisner in context and challenge the divide typically assumed between prose and comics media.
[Dauber and Fingeroth]
Dauber pointed out, in opening, that Will Eisner’s work is not usually considered in comparison to novels. He’s known for his prose, and often narrative-heavy work, but close textual comparisons between his writing style and those of his contemporary prose-writers is sparse, or even non-existent. Born in 1917, and “coming of age” in the 20’s and 30’s, Eisner, Dauber said, “was present a the foundational moment of Modern American Jewish Literature” and surrounded by the same influences and trends of major novelists of the period. Abraham Cahan, for instance, who fled from Czarist Russia to become a longtime editor of Yiddish newspapers in New York, was a “break through writer” in establishing Jewish-American literature. He often described the “urban landscape” as “something that’s alive”, as artist Andrea Tsurumi observed during audience participation. In comparison, Eisner’s CONTRACT WITH GOD gives a strong sense of place, and often speaks in a “high register” of prose, like Cahan’s work.
Another prose writer who became a “household name” during Eisner’s childhood was Anzia Yezierska, the “Cinderella of the tenements”, who often found herself in conflict with her parent’s generation, forged her high school diploma in order to attend college, and found herself exploring the conflict between the old and new world in her prose. Her use of dialogue, contrasting idiomatic Yiddish-English with her own more formal style of English speaks to a tension also visible in Eisner’s dialogue. Dauber presented novelist Henry Roth’s work as a final comparison in the use of dialogue to show differences in cultural background also found in Eisner’s Dropsie Avenue inhabitants. Dauber also pointed out a similar fascination with religious experience as a “transforming” force between Roth and Eisner.
While Dauber explored prose comparisons between Eisner’s work and other Jewish-American novelists, Fingeroth took a more visual approach to putting Eisner in context. He addressed the fact that many of the novels of Eisner’s generation and milieu found their way into film adaptation, like Philip Roth’s GOODBYE COLUMBUS (1969). This forms a visual link to Eisner’s own graphic novels and work as an artist. Like Saul Bellow, Eisner also embraced a strong sense of comedy in his work, whereas authors like Bellow didn’t seem to acknowledge comics as an expression of their generation. In a video clip Fingeroth played for the audience, Eisner described himself as “growing up in an environment of prejudice and exploration of identity”, a theme certainly visible in many of the Jewish-American novels of the period. Eisner’s injected his characteristic humor by adding that writing was “inexpensive long term therapy” for these issues.
Fingeroth described the “Jewish-American assimilation experience” as a common feature of Eisner’s work and his novelist contemporaries. CONTRACT WITH GOD, the “first thing” Eisner created in his long career that “wasn’t an actual assignment” allowed him the freedom to revisit these very personal experiences. Fingeroth also noted that a common cultural reference among these writers was Baseball, as seen in Philip Roth’s THE GREAT AMERICAN NOVEL, and in Eisner’s artwork on “The Adventures of Rube Rooky”. Writing about baseball, Fingeroth explained, was a “leveling process” between cultures that became part of the assimilation process. Visually speaking, Fingeroth said, Eisner was a “master of this craft of depicting urban life” found in celebrated Jewish-American novels. Particularly in A CONTRACT WITH GOD, Eisner, “given the freedom to do what he wanted to…came up with stories based on the Bronx of his youth”, like other writers of his generation.
Fingeroth reminded the audience that exploring Eisner’s prose shouldn’t take away from Eisner’s own assertion that he “wrote with pictures”, though. According to Dauber and Fingeroth’s research, Eisner wrote “as well as anyone” else prominent in his generation. To understand Eisner’s legacy, we have to keep in mind that he “thought of himself as someone who wouldn’t be complete without pictures”, Fingeroth said. So, after this careful textual and cultural comparison between Eisner and the Jewish-American novelists of his day, what was the verdict? Could Eisner’s works be placed in the “literature” section of a bookstore next to the novels he felt expressed the same messages? “Will made it”, Fingeroth confirmed, “He belongs there, too”.
During the question and answer period, discussion turned toward Eisner’s overwhelming drive to raise awareness of comics as a medium. Fingeroth described Eisner as being on a “mission to explain his own life and to legitimize comics”. It’s a puzzling thing that Eisner apparently wanted graphic novels to be seen as “mainstream” literature rather than as a separate format, but the answer may lie in his sense that graphic novels were still being segregated from literature and therefore not treated as equal creative achievements. The double presentation of Eisner’s work in context from Dauber and Fingeroth made a strong argument for Eisner’s status alongside novelists of his day, especially in terms of subject matter and prose style. Dauber and Fingeroth presented reasonable evidence that Eisner’s work could be reshelved in the literature section at any bookstore, but it might cause quite a tug of war with those who see his work of “legitimizing” comics as most at home in a separate graphic novels section of books. “Ideally, all sorts of books could be shelved in more than one section of a bookstore or library,” Fingeroth added in a follow-up comment, “but a variety of practical reasons make that unlikely for the time being. Online venues seem to be able to do it, though, so hopefully some version of that will come to brick-and-mortar outlets, too.” So, why not place Eisner’s books in both locations? It might remind readers, for one thing, to view Eisner as a cultural peer of many of the novelists he revered.
Hannah Means-Shannon writes and blogs about comics for TRIP CITY and Sequart.org and is currently working on books about Neil Gaiman and Alan Moore for Sequart. She is @hannahmenzies on Twitter and hannahmenziesblog on WordPress.
By: Heidi MacDonald
Blog: PW -The Beat
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BY JEN VAUGHN – For anyone who has ever performed any improv, there is a simple rule: ‘Say Yes.’ Say yes to a situation when presented to you because your fellow troupe member has a story line. You can add even more “yes and…” The same rule applies to a game called Fiasco, which calls itself the ‘make your own Coen brothers film’ game. You create a story without props with high stakes, characters with high ambition and low impulse control AND with a traditional story structure. The first time I played was with Comics Journal editor and gaming partner Kristy Valenti and the heat was oppressive, adding to our Western setting. Center for Cartoon Studies professor and cartoonist (most notably for BERLIN), Jason Lutes, has taken the narrative he created with five CCS graduates and turned it into a 72 page full-color comic book called BINGO BABY.
The creators include five CCS graduates Donna Almendrala, Bill Bedard, Joseph Lambert, Amelia Onorato, and Denis St. John and Jason Lutes is their whip-cracking editor. It’ll be interesting to see this story that was created rather on the fly by creative storytellers and then coaxed into comic book page submission. Each of these young cartoonists are drawn to rich stories, no matter what genre or style. Based on the video, they draw a lot from the quiet mountain town of White River Junction, full of its share of characters from the meth addicts to the Vietnam War veterans to the bougie retirees to the dueling bingo venues crammed with hardcore players. You can do the ol’ Kickstarter pre-order now for only $10.
Lutes is known at the school for his board game nights. Wish there was a reward that included Lutes coming to YOUR board game night and teaching you a thing or two about wheat or stone trades. Rewards include the book itself, a shirt, hell—some original Lutes artwork!
Jen Vaughn is a Seattle-based cartoonist and marketing manager at Fantagraphics. CAVEAT: she’s played board games with all these creators and they are magnificent bastards.
I’ve mentioned Lala Albert here before but she continues to fascinate with her disturbing but compelling mythology of three eyed women. Much concerned with myth and alien life, her work can be seen in Vice and on her website. Her day job involves designing textiles such as this.
Alvert is interviwed at Berserker Magazin
I see a similarity between this and nature documentaries and books. We don’t really know what anything else is thinking and we can only assume. I’ve been really into exploring the similarities of different types of creatures. I have these DVDs Life in the Undergrowth, Life of Birds, Blue Planet. I started watching all of those around the same time and it was really overwhelming to see how the behavior of birds is the same as fish is the same as insects, and if you look, the same as people and other herd animals. I imagine the aliens I draw to be the future, what humans are evolving into. As we explore space, the way we are conscious and the way we communicate changes and we become the alien invaders. I see us starting to live like ants or termites. I like to draw my characters sharing a hive mind and crawling on each other.
Women’s History month is wrapping up, but we at The Beat don’t feel we celebrated it properly, so for the next 24 hours most of the Beat staff is collaborating on “24 Hours of Women Cartoonists” to spotlight some of our favorite creators.
* * * *
First up:Helen E. Hokinson, a single panel cartoonist and illustrator from the mid 20th century — a period where the contribution of women to comics seems to have been mostly uncredited or in parallel fields such as picture books. The New Yorker of the period was not without female contributors, however, and among the most renowned was Hokinson (1893-1949) who contributed 68 covers and over 1,800 cartoons to The New Yorker. She was the definitive delineator of the stuffy Turtle Bay matron, a rarefied creature of habit and privilege. She was well known in her day producing half a dozen books of her own cartoons and illustrating many more. She died in a mid-air collision in 1949.
Hokinson’s reputation has perhaps suffered from reports that she illustrated staff captions rather than writing her own cartoons—a common practice at the time. There’s much more about her and other women cartoonists at The New Yorker in Liza Donnelly’s history book, Funny Ladies: The New Yorker’s Greatest Women Cartoonists And Their Cartoons
Currently working on Monkeybrain’s Bandette series with Paul Tobin, Colleen Coover possesses the cleanest linework of any artist possibly ever seen. Well known for her breakthrough work on Small Favors, Coover works very often with members of Periscope Studios, most notably Tobin and Jeff Parker – with whom she worked on a series of stories in X-Men: First Class for Marvel. Moving between work for companies like Marvel and her own creator-owned projects, Coover’s sense of expression and artistic glee comes through in everything she does. Whether it be Spider-Man hiding from Mary Jane on the roof of her lounge, or talking squirrels in Gingerbread Girl, there’s an innate sense of humour and fun to her art style. You can find more on her blog, or follow her on the twitters!
Click the image to read Ava’s Demon
Michelle Czajkowski is sort of a big deal on deviantart. Michelle started her weekly webcomic “Ava’s Demon” in 2012, and is currently at page 392. She seems to keep her personal life private and lets her art tell you all you need to know.
This is the only photograph I can find of Michelle:
They say that behind ever Madman is Lara Allred. Fine, no one has ever said that but I still think it’s true.Laura has left her mark on countless books such as Fables, The Spirit, X-Force, Wolverine and The X-Men and award winning run on iZombie.
Laura is hands down one of the greatest colorist to ever grace comics. Laura, thank you for being so awesome and a inspiration to everyone around you.
Cynthia “Cindy” Martin worked in mainstream comics at the very WORST time to be female in mainstream comics — the 80s and 90s — despite this, she racked up a solid run on Marvel’s STAR WARS that’s considered some of the definitive comics work on the title. She also drew Wonder Woman and Spider-man. In recent year’s she been illustrating a number of non fictionYA graphic novels for Capstone. She’s also been made an honorary member of the 501st Legion—the Stormtrooper cosplay organization.
Recently seen as co-creator on Bucko with Jeff Parker, cartoonist Erika Moen is one of the many higher beings who works within Periscope Studios. Perhaps best known for her ‘naughty’ comics including DAR, her work is confrontational in the very nicest of ways. She’ll do something which you should be shocked by, only you’ll find – to your surprise – that you’re giggling along with it instead. Clean and vibrant, her art style is instantly recognisable, and she can jump from fart jokes to poignancy in an instant. Bucko was recently collected by Dark Horse, and you can find out more on her site, or over on the twitters!
Writer, artist, and part-time jouster, Emma Vieceli is best known for her work with long-form works including Avalon Chronicles, Dragon Heir, and Vampire Academy. Brilliant at conveying excitement from her characters, her work has been much sought after – when not working on projects about King Richard III, she’s giving talks on creativity or contributing to anthologies and back-up strips for books like Comic Book Tattoo or Phonogram. She’ll next be seen on the next Alex Rider graphic novel adaptation by Antony Johnston, working her magic on the young spy’s next adventure. Find more on her site, or follow her on the twitters!
First off, Kate Leth is a fan of The Spice Girls, so immediately you should be ready to welcome her into your world with open arms. Secondly, her webcomic series Kate or Die! is a fantastical piece of work, with each strip offering something new, but all drawn in her bouncy, glamorous style. Each new strip could be anything – something that happened to Leth in real life, a dream sequence, a quick gag, or a detailed explanation of how to apply othic makeup. It’s autobiographical, fantastical, informatical, hydromatical… like greased lightning! Erm, anyway. She’s currently working on a fair few projects including Adventure Time with Fionna and Cake for Boom, as well as continuing on with Kate or Die. You can find more on her site, or follow her over on the twitters!
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When I saw Clark and Lois 4ever seven years ago, I knew Ming Doyle was going to be something. Ming started out on various anthologies like Jennifer’s Body (BOOM! Studios), Popgun (Image Comics), and doing a weekly webcomic with Kevin Church called The Loneliest Astronauts. The story is basically what if Steve Martin and John Candy from Trains, Planes and Automobiles were stuck in distant space with no way to get back to Earth. Every week that went by the duo became better storytellers and gave more depth to the story. Due to scheduling conflicts the series ended in January 2012. Shortly after the cancellation, Ming and Church co-created created a Star Trek fan fiction web comic called Boldly Gone. The series lives on but the art duties were handed down to Bruce Mcckindale.
She used to host a snazzy podcast with Alexa Rose called Make Believers. They discussed what they saw on Netflix that weekend, fashion tips, music and books they were into, and gave listeners mixed drink recipes that were named after comic book characters.
Her prolific webcomic work seized the attention of the industry and landed her on a Girl Comics anthology that featured the Women of Marvel. Doyle was recently partnered up with Brian Michael Bendis to pencil Marvel’s Guardians of the Galaxy Infinite Comic. This past December Brian Wood, Jordie Bellaire and Ming debuted a six-part comic called Mara at Image Comics.
Ming’s one of the most prolific artists in the last decade and she has a bright future ahead of her.