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Author, musician and occasional illustrator Gerard Way (The Umbrella Academy) is finally getting a chance to take on comics in a bigger role than ever before with DC’s Young Animal imprint. The line includes the following titles: Cave Carson Has a Cybernetic Eye written by Way and Jon Rivera with art from Michael Avon Oeming (Powers), […]

Bang bang. Welcome back the one who knocks.

After his continued success on a certain CW show, Cisco Ramone’s comics counterpart Paco Ramone (also known as Vibe) began to grow jealous of Cisco’s role on The Flash. The CW character has been able to take on some of the best material of the show serving as both the comedic relief and mad scientist. Wanting a piece of the action, Paco decided to hatch a plot for revenge via some of his best friends — the men and woman of the Beat Manor. First, we made Paco give us his staff picks, so we could deliver this fantastical article to the comics public, then we listened as Paco hatched one of the most sinister plans that several of the Beat Staff have ever heard. He decided to put a whoopee cushion on every single surface of S.T.A.R. Labs, and then replace Cisco with Paco for the day. He convinced several Beat Staffers to join him in his nonsensical farce. Unfortunately, The Reverse-Flash caught Paco (most of the Beat Staffers got out alive) and he was never heard from again. Disregard that story as you read about our top comics picks of the week.

Alex’s Picks:

Injection #1

Writer: Warren Ellis Artist: Declan Shalvey Colorist: Jordie Bellaire Publisher: Image Comics

INJECTION explores how loud and strange the world is becoming, and the sense that it’s all bubbling into chaos—a chaos poised to become the Next New Normal—and that we did this to ourselves without thinking for a second about how we were ever going to live inside it.

Relatively little has been announced regarding Injection’s plot. Which doesn’t matter, as the creative team of Warren Ellis and Declan Shalvey have already cemented their names in the comics public as a great team. Shalvey has spent a lot of time getting the art up to the standards of Moon Knight, and spoken publicly about wanting experiment further in his main psychedelic style. This is going to be a red hot title this week even with the amount of crossovers shipping from Marvel and DC.

The Mantle #1

Writer: Ed Brisson Artist: Brian Level Publisher: Image

THE MANTLE follows Robbie—just your average, run-of-the-mill guy—as he drunkenly stumbles out of a punk show one evening. On his way home he’s hit with lightning and wakes to find that he’s been chosen as the new host for The Mantle, a power set of unimaginable scope. Despite his lack of interest, he’s forced into action. The Plague, a being who has spent 50 years killing every previous host of The Mantle, is already coming for him.

Sheltered author Ed Brisson is jumping on The Mantle, a comic with the intention of deconstructing superheroes. The title features the art of Brian Level, who previously worked on a title called In the Dark from IDW and assisted with art for Lazarus from Image is joining Brisson for the series. Watching the military-rooted writer jump onto a title with Punk Rock themes and superhero aesthetics is something that has captured my interest.

Dave’s Pick:

Southern Cross #3 (Image Comics)

(W) Becky Cloonan (A) Andy Belanger (CA) Becky Cloonan

The Southern Cross begins to give up its secrets, and Braith finds that the more she learns about her sister’s death, the less she actually knows her.

Gotham Academy #6

Story: Becky Cloonan, Brenden Fletcher

Art: Karl Kerschl, Mingue Helen Chen 

Color: Msassyk, Serge Lapointe

Letters: Steve Wands

Publisher: DC Comics

As much as we love reading about the adventures of the world’s greatest detective, you have to figure Gotham city is probably a pretty messed up place to grow up. Walking down the street could get you turned inside out by Joker gas or someone in a skintight cat outfit could shred you to pieces. Even adolescents in this world have it rough. This is mostly due to Becky Cloonan and Brenden Fletcher. They put kids in buildings with Arkham inmates, fire hazards, and sinister looking headmasters. All these obstacles put forth for our enjoyment in Gotham Academy #6.

The issue wraps the first story arc and sheds a little more light on Olive Sliverlock’s forgotten past. What issue six finally does is make good use of a Batman appearance. It’s powerful, and not just because of the fight with Killer Croc. This chapter of Gotham Academy puts Olive on a collision course with the caped crusader. Neither character is shown to be on the right side of the argument, which makes this matter poignant to the series and a mystery we’re sure to want answers about. Cloonan and Fletcher write the usual whimsy and angst sprinkled voice that cast of characters has become known for in the series. It’s just that now the team has managed to raise the stakes for all of them.

In addition to the usual fantastic Disney animated style art of Karl Kerschl, issue six brings Mingue H. Chen on board for some key flashback sequences and an epilogue that leaves us wishing DC would just skip Convergence altogether. Her style is noticeably more painted than that of Kerschl but it never jitters the reader. The two artists blend pages smoothly and that’s the best you can ask for when sharing illustration duties on a single story.

Gotham Academy is one of the best new ideas DC has published in awhile. If you’ve been on the fence about trying this series, go do it. Issue six, as a standalone, has major hook and you’ll definitely be enticed enough to pick up the pieces you’ve missed. One usually has to read a Vertigo published book to find this much depth in a comic.

Now that the kids are united it’ll be even more fun to see how they’ll be divided.

SOUTHERN CROSS #1

Writer: Becky Cloonan

Art: Andy Belanger

Colors: Lee Loughridge

Letters: Serge LaPointe

Publisher: Image

I imagine a typical Friday night for Becky Cloonan or Andy Belanger includes sipping wine and eating fancy cheeses while watching movies like Akira or The Abyss. How else could a science fiction mystery like Southern Cross exist? Regardless of the how, Southern Cross is now a thing, and it’s as necessary as any of the great 80’s sci-fi stories.

Written by Becky Cloonan (Gotham Academy), Southern Cross story is the journey of Alex Braith,  a young woman who hitches a ride on a space tanker called the Southern Cross. She’s traversing the galaxy to a moon called Titan in order to investigate the suspicious circumstances of her sister’s demise. The opening chapter is gritty and gives very little away as the story unfolds. We spend the majority of the issue learning about Alex and the corporation she suspects to be at fault, Zemi. Cloonan has crafted a character that readers can both love and hate. While her inner monologue gives us reason to feel for her; it’s the interactions with others aboard the ship that make you say “what an a**hole. “ For example there’s one tense exchange between Alex and her cabin punctuated by a dripping faucet in the background which makes it that much more uncomfortable to watch. Regardless of what side you fall on, Alex is a unique internal mystery of a character.

The art of Andy Belanger (Black Church) is well suited for Southern Cross. From a design stand point; the world of the story feels outer space massive in scale yet almost “down to earth” in a way. The massive spaceports almost look like city skylines. Even the Southern Cross itself doesn’t feel alien; it opts for the look of an oil tanker at sea. These strategic touches make easy connections between the readers and themes they’ll uncover throughout the series. For all the comforts he puts in the book, Belanger knows when to get sci-fi weird. The Cross is half Delorean and half creepy parts of the Queen Mary. Belanger’s art buttresses the story all the way through to the end. Once you get to that final intense panel, the horrors really begin and you want issue two already.

When picking up the book, keep in mind you’re in for a slow burn with a deep mystery that will unravel at the right moments. If you enjoy tension and suspense… pick up Southern Cross. If you’re a fan of haunting style horror… pick up Southern Cross. Should you fancy complex and rewarding character… pick up Southern Cross. This has officially become my new vice, it’s just that addictive.

If your frequently used words list includes Batman, Clutch, and pastrami pizza follow Dave on twitter @bouncingsoul217.

By Davey Nieves

Gotham Academy #4

Story: Brenden Fletcher, Becky Cloonan

Art: Karl Kerschl

Color: Msassyk, Serge LaPointe

Letters: Steve Wands

Publisher: DC Comics

Written by Becky Cloonan(DEMO, Killjoys) and Brenden Fletcher(Batgirl, Assassin’s Creed), Gotham Academy #4 continues its mystery as young Olive Silverlock uncovers the ghost of the north hall. The academy itself is much like Gotham City, written with an atmosphere that makes it feel living but never outshines the characters. Along the way Olive’s relationship with her ex-boyfriend Kyle continues to reach a breaking point as a possible new interest literally catches her. It’s not just her love life that’s bending. Like any young girl, Olive finds fitting in has challenges of its own. In this issue her self-esteem will be tested as she stumbles upon gossip she might not be ready to deal with.  Readers are enticed with more details as to Silverlock’s forgotten summer and the burning question of what happened to her mother.  These pages flow so well together that once you hit the end of the book it feels like a crime not to dive right in to the next issue. One of the very few minuscule problems I’ve had with the series is the way issues leave readers on a cliffhanger but subsequently pick up moments after it in the next chapter. Hopefully with the major punch this issue ends on that won’t be the case for issue five.

While the book is a rich ensemble full of unique voices from Olive’s sister figure the spunky young Maps all the way through to Headmaster; issue four is more Olive’s book as you really see her three sides. Who she is among friends, who she is to herself, and the part of her she doesn’t know. Moments in the book like her confrontation with the “ghost” of Jane Cobblepot illustrate it best.

Gotham Academy is consistently a pretty book. It plays with a Manga influence that in most other American titles would be a deterrent. Karl Kerschl’s (Majestic, Teen Titans) line work is the first part of this recipe. Where a lot of Manga-style books stumble is in the framing of their shots. Kerschl’s work doesn’t suffer from that one bit as everything feels like a natural camera position. When you add the colors of MSASSYK and Serge LaPointe it makes the page vibrant in a way few books are. The end result feels like a hybrid of Anime, cinema, and emotional Disney animation.

The series isn’t without imperfections of its own, since the first issue there’s a stumble that merely tugs on you in the way a fly tugs on an elephant. It probably only knows it’s there but doesn’t really ruin their day.  Gotham Academy has so many moving parts that some thing feels as though it falls by the waste side when I’ve seen it. Bruce Wayne’s brief appearances; they almost feel shoehorned in. Granted the book is only in the orbit of the Batman universe by association, but that means the series should get to a point where it only needs Bat appearances when absolutely necessary. It’s a minor complaint that does little to hinder the enjoyment overall, but you know… internets.

Growing up in the 90’s, for me it was all about: Batman: The Animated Series, Pepsi, and the band Rancid. Perhaps what stood out to me most about TAS was how much I cared about the players who weren’t Batman. Two-Face, Leslie Thompkins, one and done Charlie Collins, even Gotham City itself were all stories I invested in. As of late, Bat group editor Mark Doyle has added books to the bat-ecosystem that have captured a similar type of magic previously only on Fox Kids programing. Gotham Academy has been an underrated prime example of it. Issue four continues its unfolding of the institution’s connection to Gotham’s lore through the lens of adolescence.

Ultimately, Gotham Academy is a niche audience book that outstretches its boundaries by being energetic and refreshing. While its Young Adult nature might not appeal to the hardcore superhero crowd; there’s a good story about a troubled girl trying to find herself, which in a way makes her relatable to millions of people out there. If the Gotham Academy team is a band, then issue number four is their Let’s Go. What’s scary and exciting about that is the possibility that issue five could be their And Out Come The Wolves. For the non-punk rock fans out there, what that boils down to is Gotham Academy #4 figures out the strengths of the series. Issue five could be where everything fires on all cylinders and I have no doubts that it will be a book I can enjoy being a 72yr old man and then pass on to my adolescent niece. In short the definition of all age storytelling.

If words like Gretzky, Clutch, Zayn, and Archie are in your vocabulary then feel free to follow and unburden your anger at Dave on twitter @bouncingsoul217

And so we wrap up this year’s with the last round of replies, and if one thing is clear it’s that a lot of  people are looking forward to a new Star Wars movie. Once again, thanks to everyone who took the time from their busy schedules to respond. Previous parts can be read here: Part One, Part Two, Part Three, Part Four.

Greg Pak, writer
2015 Projects: ACTION COMICS, BATMAN/SUPERMAN, STORM, and my new online store,gregpakshop.com, where you can buy signed copies of my books!

What was the biggest story in comics in 2014? Diversity. After the success of MS. MARVEL, there’s no going back. We’re going to continue seeing more and more diversity of casts and genres and art styles in mainstream and independent comics, and that’s a fantastic thing that’s healthy for the entire industry in every way.
What will be the biggest story in comics in 2015? Diversity. Not just among casts, genre, and art style, but among actual creators. I think there was a time not too long ago when I was the only person of color writing for the big two. That’s going to change. And we’re going to see more and more women writing and drawing, and comics will continue to tap into new audiences as a result, which will be better for the entire industry.
What guilty pleasure (of any kind) are you looking forward to in 2015? I got one of those fancy blenders, and it’s gonna be fruit smoothies 24/7, y’all.

Richard Starkings, writer/lettering guru

2015 Projects: ELEPHANTMEN — 60 issues and still counting! THE BEEF with Tyler Shainline and Shaky Kane! This years comicbookfonts.com New Year’s Day sale… we’ve been posting Lettering Q&A videos everyday on the Comicraft YOUTUBE channel 

What was the biggest story in comics in 2014? GUARDIANS OF THE GALAXY becoming such a huge hit.

What will be the biggest story in comics in 2015? Probably STAR WARS comics, toys and the movie!

What guilty pleasure (of any kind) are you looking forward to in 2015? THOUGHT BUBBLE 2015. Best comic festival IN THE GALAXY!

JIMMY PALMIOTTI
2015 Projects: Harley Quinn, The Con Job, Abbadon, G.I.Zombie.

What was the biggest story in comics in 2014?

I think getting more women in the business and hearing from different voices with many different ethnic backgrounds as well as mainstream comics becoming more global. With this, I hope we get to a place where we look at the work with a better eye and less about the person that created it. I am hoping traditional superheroes mature a bit in the process.
What will be the biggest story in comics in 2015?

Hopefully it will be the direction of certain creators getting behind their own creations and the audiences out there supporting them. I also think IMAGE comics will finally beat out one of the big two companies and cause them to rethink they way they share profits and creator owned ideas.
What guilty pleasure (of any kind) are you looking forward to in 2015? For me, the guilty pleasure I am now enjoying is moving a lot of what I do out of my house and into a studio surrounding and making our Paperfilms website the place to find my own future projects. That, and a couple of movies on my radar that are not franchises or part 30 of something that has already been beaten to death.

J.T. Yost, publisher/creator

2015 Projects: As a publisher (Birdcage Bottom Books): 

• A collection of short stories by Dakota McFadzean (probably a risograph printing)
• “LOUD COMIX #5″ by Jamie Vayda (featuring stories written by various southern punk-rock musicians and other riff-raff)
• “On The Other Hand” anthology (comics drawn using the artist’s non-dominant hand)
• “Bottoms Up!” anthology (stories of hitting rock-bottom and recovery)

As a distributor:

Birdcage Bottom Books continues to expand its roster of indie-comic artists and micro-press publishers with a focus on limited-edition hand-made mini comics. Our mission is to make comics without barcodes easier to find and own while allowing comic artists to focus more time on creating and less on marketing & promotion.

As an artist:

Finishing up several short comics for various anthologies (including “Not My Small Diary #18 (pets)”) and hopefully working on finishing the final issue of my “Losers Weepers” series.

What was the biggest story in comics in 2014? I don’t know that it’s the biggest story, but I found it interesting that several of the larger indie-comics publishers (Fantagraphics, Last Gasp, Sparkplug, etc.) have turned to Kickstarter to help fund their publishing endeavors.

My own publishing company has used it for two anthologies (“Digestate: a food & eating themed anthology” and “Cringe: an anthology of embarrassment”) with great success. Kickstarter is a great way to reach a broader audience and offer additional incentives to “pre-order” a book.

What will be the biggest story in comics in 2015? The success or failure of The Peanuts movie will probably make some headlines.

What guilty pleasure (of any kind) are you looking forward to in 2015? Visiting one of the “cat cafés” opening in NYC this year. My cats died a few years ago, and my wife is allergic (plus we have a chihuahua who hates cats). I actually don’t feel guilty about this at all, but there are some who would insist that I should be.

Josh Elder, writer and Comics Ambassador for the US State Department (Yes, that’s really a thing.)

2015 Projects: The trade paperback for Scribblenauts Unmasked by myself, Adam Archer, Ian Hering and Saida Temofonte (with edits by Alex Antone) drops in February from the fine folks at DC Comics. I’ve got a couple additional unannounced projects from DC on the docket in 2015, the relaunch of my Mail Oder Ninja series from Andrews McMeel Publishing and about a half-dozen personal projects that have been long in the works. I’m also continuing in my role as Executive Director of Reading With Pictures and Comics Ambassador for the US State Department to promote the use of comics in the classroom all around the world.
What was the biggest story in comics in 2014? Amazon’s acquisition of comiXology. The world’s biggest and most influential e-retailer just bet big on comics. ComiXology itself is obviously the big winner here, but the Amazon acquisition is a clear sign that the big boys of digital content distribution think that comics could well be the next big thing. And that is very exciting indeed.

What will be the biggest story in comics in 2015? I know of a certain something that, should it come to pass, would be a major contender for the top spot (How’s that for a tease?), but since I cannot yet speak of such matters, I’ll instead go with all the ch-ch-changes at DC Comics due to the Great Western Migration. Jobs will live, jobs will die and nothing will ever be the same again!
What guilty pleasure (of any kind) are you looking forward to in 2015? Against all reason and better judgment, I am getting crazy excited for Star Wars. The movie, the comics, even that kooky, cross-guard lightsaber. I’ve been burned so many times before, yet I still think I’ll be waiting in line opening night to return to a galaxy far, far away…

Charles Forsman

2015 Projects: Revenger

What was the biggest story in comics in 2014? Conversation of gender around comics.

Guilty Pleasure: New Star Wars!

James Romberger

2015 Projects: The Late Child and Other Animals with Marguerite Van Cook, a graphic novel just out from Fantagraphics Books; plus I am currently working on the second issue of Post York for Uncivilized Books and also finishing my critical book about Jim Steranko.

What was the biggest story in comics in 2014? The Jack Kirby estate’s settlement with Marvel Comics/Disney that ensures Kirby’s creative credit and gives the family substantial financial compensation.

What will be the biggest story in comics in 2015? I’d like to think it would be an epiphany in America regarding the superior quality of Hugo Pratt’s work, due to IDW/EuroComics’ new Corto Maltese reprint series.

What guilty pleasure (of any kind) are you looking forward to in 2015? Now having the option to read a Marvel Comic or watch a Marvel movie without feeling like I am helping a corporation rip the Kirbys off.

Allison Baker & Chris Roberson

2015 Projects: Chris is busy scripting funny books like ALIENS and DOC SAVAGE (and a whole list of other projects he can’t talk about yet), while Allison is the Director of Operations for IDW.

What was the biggest story in comics in 2014? Our perspective is a little skewed because of personal involvement, perhaps, but one of the most interesting things about comics in 2014 was more about the influence of comics on another medium than about comics as a medium in itself: namely, television. Comics being adapted into successful movies is nothing new, as a quick glance at the box office results for any recent year will attest. But successful television adaptations of comics have been pretty thin on the ground in the past, with occasional standouts. But the success of THE WALKING DEAD may have signaled a changing landscape. Marvel’s AGENTS OF SHIELD will soon be joined by an AGENT CARTER spinoff. And it was announced that DC’s ARROW will be joined by FIVE new series that will air on various networks based on their comics, including one that is near and dear to our hearts, Rob Thomas and Diane Ruggiero-Wright’s adaptation of Chris and Mike Allred’s iZOMBIE. Recently, Sony’s Playstation Network announced plans to adapt Brian Michael Bendis and Michael Avon Oeming’s POWERS. And there were probably more that we’re forgetting. In the short term, we’re sure that many of us hope that the increased exposure these kinds of adaptations bring will mean for increased sales for the titles that are being adapted themselves (that’s what WE’RE very much hoping for, anyway). But on another level, it might suggest that there is a far larger potential audience for the kinds of stories these comics are telling than the comics themselves are reaching.

What will be the biggest story in comics in 2015? There were some really interesting trends the last couple of years, with independent publishers taking increasingly large market shares and retail sales in direct market shops rebounding, in addition to more and more creator-owned titles ending up on mainstream bestseller lists. We’re still in a transitionary period, with the ground continuing to shift underneath our feet, and the biggest story in comics next year could be what the landscape ends up looking like when the dust has settled.

Becky Cloonan; @beckycloonan

2015 Projects: GOTHAM ACADEMY (DC) SOUTHERN CROSS (IMAGE)
What was the biggest story in comics in 2014? Comics are for everyone! Diversity took the spotlight this year, diversity in creators, characters and fans. Yes there was a lot of ugly stuff, but I like to remember the positives and there was a lot of good discussions and progress made too. Publishers are paying more attention to how they are hiring and marketing, and who is reading. I love comics and looking back on this year it makes me really happy and proud to be a part of this community. Serious feels.

What will be the biggest story in comics in 2015? Creator owned books are going to own 2015. Like how they owned 2014 except even more.

What guilty pleasure (of any kind) are you looking forward to in 2015? I am going to learn all the lyrics to Journey’s Separate Ways specifically to rock at karaoke.

Tom Hart, cartoonist, educator

2015 Projects: Rosalie Lightning, due hopefully in 2015, from St Martins Press

Continued running of The Sequential Artists Workshop with guest workshops in 2015 by Ed Piskor (Hip Hop Family Tree) and Aidan Koch (q, The Blonde Woman, etc.)

What was the biggest story in comics in 2014? Oversized archive books

What will be the biggest story in comics in 2015? The decline of ink as medium of choice

What guilty pleasure (of any kind) are you looking forward to in 2015? Reading Amanda Palmer’s book, the Art of Asking. That probably doesn’t count, does it?

Adam Koford, writer/cartoonist

2015 Projects: I just hit #2600 with the Laugh-Out-Loud Cats at HOBOTOPIA.com with no end in sight (though I am sending them underground for a while), and I wrote the Spider-Man Play Set for Disney Infinity 2.0.

What was the biggest story in comics in 2014? The success of the Guardians of the Galaxy film and the subsequent ubiquitousness of Rocket and Groot.
What will be the biggest story in comics in 2015? DC’s move west will be fun to watch.

What guilty pleasure (of any kind) are you looking forward to in 2015? My kids have got me hooked on HeroClix, so I’m a little too excited for the upcoming Spider-Man Symbiotes figures.

Alex Segura, writer/editor

2015 Projects: Writer of crime novels and comics, Archie Comics PR guy and Editor of Dark Circle Comics

What was the biggest story in comics in 2014? Comics are everywhere. It isn’t just movies – but TV, video games and more. Selfishly, I also felt like the ARCHIE #1 news caught a lot of people by surprise. I also feel like Image continues to defy preconceptions about what a “big publisher” is in comics, dovetailing nicely with what cable TV seems to be doing.

What will be the biggest story in comics in 2015? For me, it’s the launch of Archie’s superhero imprint, Dark Circle Comics with THE BLACK HOOD, THE FOX and THE SHIELD. Overall, I think it’ll be a continuation of what we’ve seen over the last few years – creators getting to tell their own, personal stories/creating their own characters as their livelihoods, as opposed to something done between work-for-hire gigs. I think you’ll also see that influencing how IP-owning companies approach their own characters and promote them.         Los Bros Hernandez

What guilty pleasure (of any kind) are you looking forward to in 2015? I don’t believe in guilty pleasure – but I’m always happy when there’s more Achewood!

Sneak peek at a coloured panel from #GothamAcademy issue 1, by me, @beckycloonan and @brendenfletcher: pic.twitter.com/5pwBdOXyGf

— Karl Kerschl (@karlkerschl) August 11, 2014

#GothamAcademy is coloured by the incredible Romain Gaschet, who worked with me on Teen Titans Year One. I don’t think he he’s on twitter.

— Karl Kerschl (@karlkerschl) August 11, 2014

Guys, the ENTIRE BOOK looks like this, except better because Olive and Maps are out of their chairs. :)

— Karl Kerschl (@karlkerschl) August 11, 2014

Artist Karl Kerschl teased a single panel of GOTHAM ACADEMY, the upcoming Batfamily book written by Becky Cloonan and Brenden Fletcher and drawn by Kerschl, with colors by Romain Gaschet. The book is something of a “sister” book to the new Batgirl and presents a more “shojo” approach to the Batman universe with the story of some students at Gotham’s number one prep school and their fantastic/Gotham tinged adventures. It’s a book aimed at a younger audience, and why not as the “academy melodrama” is a hallowed tradition of storytelling?

Fletch subsequently tweeted that they couldn’t show any more but Batgirl writer Cameron Stewart averred that the two books are set in the same universe, in spirit anyway.

Nice to see DC moving forward with a book that has a fresh take on a hallowed canon.

By David Nieves

We’re all still recovering from copious amounts of walking around taking pictures with people and wishing the people in front of us taking pictures would just move. Yes another San Diego Comic-Con has come and gone. By now all the news is out and we’re still reeling from the Batman V Superman and Avengers: Age of Ultron footage. Every Comic-Con comes with two things, a ridiculous hotel bill and for a lot of us the empty promise of this being my final one. For me the one take away from this show is that, now more than ever, Comic-Con has the power to be a boom for every industry if affects but it doesn’t always accolade with the full potential of its crown.

I’ve been going to SDCC since 1994, back then I was a snot nosed adolescent who knew nothing about panels or even that comic books had writers. In those days all I would do is walk laps around the exhibit hall. There were no Petco Park events, or Indigo Ballrooms. Hall H was a gleam in the eye of some up and coming PR person. You might not believe it but I managed to have fun simply by trying to get as many of those door sized Knightfall Batman posters from the DC booth that year as my grubby pin seeking hands could carry.

Fueled by studio funds and rabid fandom, SDCC has turned into a monster. A hydra mated with Cousin It, if you get that reference then you’re old enough to appreciate what SDCC once was. Now Comic-Con is the cradle of fandom, and it’s divided everyone. There those who feel that the show is no longer something they want to be a part of, and there are also lots who live for the spectacle it currently encapsulates. Understand that fandom is never a bad thing; it fuels economies and brings people together who would otherwise never leave the comforts of their basement. You might as well get use to it because the extravaganza isn’t going away.

(It isn’t all bad sometimes you can catch up with old elfish classmates)

This year was no exception. From the moment I arrived in the Whale’s Vagina on Wednesday; my senses were overloaded with promotions for Guardians of The Galaxy, Blacklist, Gotham plastered everywhere from busses, trains, to hotel elevator doors. Pedicabs were already huffing people over to different parts of the Gaslamp for meager tips. Comic-Con had already been in full “on” mode days before I even arrived.

Preview night was just as bad in overcrowding as any regular day of SDCC. Five years ago it was still hard to get that exclusive collectible you wanted but still within the realm of possibility. Five seconds into the exhibit hall opening this year and almost every line from Peanuts, Tokidoki, to Hasbro was either capped or full beyond reasonable time to wait for a tote bag. After, I walked to the Gaslamp to try and meet some friends for late dinner, to no one’s surprise there were already convention goers with bags and bags full of T-shirts, toys, and I can only assume remnants of the first borns they sacrificed to get their loot. I even witnessed an elderly woman who was barely 5’0 tall hoist two Comic-Con souvenir bags filled with –who knows what– above her shoulders like they were bags of dog kibble.

My preview night finished with old “good one big G” when I got back to my hotel room to upload photos; this wallet draining douche status symbol macbook of mine decides it’s time to die. Forcing me at 2am to smoke signal Heidi and figure out just how I’m going to handle the next four days of news and rabid fandom. Like any good sibling would my sister back home came through with a old tablet that was the size of a Speak and Spell. Which in retrospect would have been better to type on than this HP monstrosity. The next three days would be characterized by a lack of italicization, which kids never let anyone tell you isn’t important.

To open the first hour of the con, I foolishly tried to procure my wish list. Anyone who attends Comic-Con knows that list mostly comes from those people who tell you “hey can you pick me up a..” At least we can say SDCC disappoints people around the world even if they don’t attend. It creates lots of those disappointments that turn youngsters towards a life of stripping. After the first hour I’d given up that hope and simply abandoned my home address and phone in a feeble attempt to hide from crushed loved ones, but carried on to the convention floor where I had my first interview of the show. This was also by far my most nerve racking interview.

I got to speak with none other than the amazing Becky Cloonan, who I’m not afraid to say I totally swoon over. Yes, I’m one of those stereotypical comic book readers who’s confused and terrified by women. In fact there’s one doing that to me as I write this. But let’s talk about Becky. Though I was more nervous than a long tailed cat in a room full of rocking chairs; she was nothing short of a delight who has so much insight on how to live life to the fullest. You can listen to that entire thing here. Feel free to throw your grade school taunts at me you smug socially well adept bastards. Sorry, Comic-Con will do that to people. We cool? Yeah. Okay.

(Becky Cloonan is amazing at being amazing)

My first panel of the show was the DC Collectibles panel. Originally I had a spotlight and a Batman panel scheduled but with my productivity situation in question, I wanted a panel that I could easily go back to and dig up info on later. After that panel it was time to see if my laptop workaround was going to prove fruitful. Nope. Can’t bold type, can’t upload images, looks like this is all going to be eyewitness accounting and Lochness monster reports.

(Bombshell girls invade the DC Collectibles Panel)

Thursday closed out with another interview I’ve been looking forward to for weeks. Ever since I saw Karloff’s Frankenstein and read the IDW published 30 Days of Night, I’ve always wanted to talk about monsters with Steve Niles. I can proudly attest, we did that sh**! Not only did I find Steve to be every bit the punk rock scholar I imagined him to be, but he also made me feel like I belonged in my comics fandom. Just as anyone in life does, you gravitate towards like minded people (Booze/Drug Free hell yeah!). When you feel like you’ve been accepted because of who you are or what you love there’s no feeling like it. Thanks to Pam for letting me conduct this interview in her place.

(Steve Niles is the legend that lives up to the legend)

Naturally the kickoff of Comic-Con sees tons of parties and people in the streets that look like a World War Z scene come to life. Some of you who are reading this can vouch for the pain in the a** that train –which just stopped in front of the convention center for what felt like hours– was. It got so out of hand at one point that the hundreds of people waiting to cross the street into Gaslamp would brave oncoming traffic and hop the guard fence over the train tracks. Stay classy San Diego.

Thursday night I was invited by my main man Gaz from Rocksteady (developers of the Arkham game franchise) to the Batman: Cape Cowl Create exhibit party at the Hard Rock across the street from the convention center.

Since I showed up at about 11:30pm most of the party had moved on and there was nothing left but a few odd dancers and the remanence of a once open bar. Curious because I’d never stayed at the Hard Rock Hotel, I wandered into the elevator and hit the button for the secured 4th floor pool area. Miraculously the box moved and when the doors opened I found myself in the midst of the IGN/Sin City party. Yep I crashed a party. Even got to run into IGN’s Greg Miller who was kind enough not to have me tossed out for crashing.

(Gameovergreggy oreo dude extraordinaire)

Celebrities, a seemingly drunk Joe Quesada, everything any SDCC party could want. It was a fun time mingling with those I had no business talking to. A pro tip, if you ever find yourself at an industry party you weren’t invited to: act like you belong. You’d be surprised how people will welcome you by just peacocking a bit.  I had a few cokes, told Amanda Conner where she and Jimmy should go eat after the party and then I called it a night.

(Somewhere in that blurry mess is Amanda Conner and friends)

The next few days are a bit of a blur between overpriced pretzels, someone yelling out the Hall H news, talking to people on the floor and mistaking Geoff Johns for my long lost cousin at the DC booth. Friday was the convention grind in full force. Like I do at just about every show I’ve ever covered, I attended the Aspen Comics panel. If you’ve never checked out their books, I highly recommend that you do. They’re comic books made by people who care about comic books. Last year my 10th anniversary submission was picked for the souvenir book and I’d met editor Vince Hernandez. This year we talked again before the panel and during their presentation he acknowledged my contribution to their celebration in 2013. It was one of those surreal con moments you hear about. The house that Michael Turner built will always hold a special place for me.

Later in the day, I was involved in a BKV moment. First of all, if you ever see Brian K Vaughan’s name for anything immediately go to it. You’re guaranteed a memorable encounter. You can read all about his self hosted spotlight panel here. During the panel I thought to myself “I need a picture with this guy,” with SDCC eliminating all common sense I thought to myself what better time than in the middle of his panel. Voilâ.

One of the things that should stand out about BKV’s words is his passion for the comic book industry. This is a guy who has written and spearheaded successful television. If he really wanted to he could have left comics behind, but he came back. Not only did Vaughan come back, but still continues to champion the industry. He’s a comic book guy’s comic book guy.

My Friday would end with an eye opening interview with Naughty Dog’s Creative Director, Neil Druckmann. He’s the American success story come to life. A kid from Israel, who came to America at a young age and found comics. A medium which would inspire him to tell the incredible stories he does today. Listen to our full interview and hear how Sin City actually inspires part of The Last of Us.

Saturday had memories of its own, but what I can really recall is going over to an Age of Ultron preview showing and putting the whole shindig into perspective while talking with my friend and frequent collaborator Kevin Johnson. Fandom is never a bad thing, but SDCC has so many things working against it that the fact they are able to pull of this logistical nightmare every year is a little bit of a miracle. Bravo to Comic-Con International for it all.

First let’s get an observation out of the way. Most of you probably already see this but it dawned on me this year. Comic-Con has the same problem that social security does in the United States. Just like we don’t always retire at 65 and live longer than in previous years, so does this problem affect SDCC. I’m not saying the reason people can’t go to Comic-Con is because no one’s dying, it’s because we don’t outgrow this in our fandom anymore. Not only do we turn 30 and still go to SDCC, we make little versions of ourselves to add to our counts as another group of kids becomes of age to attend the coolest show on earth. This year I saw fewer solo attendees than ever before. It’s a very encouraging sign on a social level, especially when we live in the age of not talking to each other (right Robin!).

Where I take issue with San Diego Comic-Con isn’t with the overcrowding, the glitz and glamour, or masses of people who prevented me from picking up my Jim Lee T-Shirt. No I fault the people who should be influencing convention goers to try comics every chance they get. The Zack Snyders’, the Evans’, even the Samuel L Jacksons’. There’s so many celebrities, directors, and multi-media personalities that go to SDCC and say they love the medium but have never once said in their Hall H spectacles, “I’m here cause I love comics and everyone should be reading them!” So many publishers like Marvel say the books are what drive everything but Hall H has nothing to do with comics. I want to hear Sam Jackson talk about the first time he read Nick Fury for research or have Andrew Garfield tell me what issues of Spider-Man I should pick up. The passioned speeches and the gimmicks are fun to see but I can hear about their lives and movies on the news or TMZ. Talk to me about comics.

Obviously the Entertainment Weekly shoot and whatever story comes out of it is a step in the right direction. It definitely signals the beginning of comics getting their time in the limelight. There are tons of great creators and characters out there who should be talked about everywhere. We shouldn’t have to wait for a 75th anniversary or a movie announcement for them to make Hall H size news during the biggest comic book convention in the world. Comics need to survive and Comic-Con has the potential now more than ever to be the biggest part of that.

(Random Dan Slott picture I don’t remember taking)

Like most people who’ve been doing the con since before 2000, I’ve come to peace with the big show, but I just wish Comic-Con did everything it could to get people talking about comic books. But we don’t have to wait for SDCC to push the industry. Comics are for everybody, we can talk about them anywhere/ anytime; on the internet, at Portillo’s Hot Dogs, while we’re on dates, waiting in line to see Guardians of The Galaxy for the seventh time. Comics aren’t just for everybody, they’re for everywhere. No other medium can spawn such new and innovative ideas. It’s my big take away from the show, realizing how much I missed writing and talking about comics.

(Obligatory Rocket Pic)

Will I ever attend another SDCC? Who knows, my body recovers slower at my age; but I was an LA Kings fan long before 2012 and a Dodgers fan through the 80′s till now. I’m a glutton for punishment so you just might see me there, after all Becky Cloonan promised to take another picture with me.

By David Nieves

Since 1999 Becky Cloonan has been breaking down doors; whether they be from moving to new places or the ones every creator has to go through to make comics for a living. I had the overwhelming  joy of sitting down with her on the SDCC show floor last week. To no one’s surprise, I found her to be every bit the –best in the world– her poignant art style suggest.

We talked a little bit about her recent move back south of the wall. Becky has a genuine zest for life that would terrify the average person thinking about uprooting themselves to new surroundings. While she deals with the same angst of “where the grocery store is, the post office… trying to figure out my place in this neighborhood,” she finds inspiration and new contributions to the projects she’s in the middle of during her journeys.

Reflecting back on the dystopian opera that was True Lives of The Fabulous Killjoys, a process that’s been over five years in the making. The original story inspired the My Chemical Romance album Danger Days: The True Lives of The Fabulous Killjoys which then turned back into the comic book.  Killjoy’s end result being a Mad Max story with so much heart that it makes the tears shed in the opening of Up seem like a prick from a rose throne. On the subject of if the group would ever come back to tell more stories in the Killjoy’s world, all Cloonan would say is, “never say never.” It does sound as though it will be quite sometime before that would ever happen due to Shaun Simon’s upcoming projects, Gerard Way’s new album, and her own recently announced Image book Southern Cross.

Our conversation steered towards the comic book industry in general. After starting by self publishing her own books in 1999, she’s excited by how viable self-publishing has become over the last ten years. Not only has this been a coo for creators, but she’s noticed how much its changed the readership of comics. Cloonan and Way recently signed at Meltdown Comics in L.A. she was thrilled by the fact that “the line was like 90% girls and they all had their comics to be signed.” Her thoughts about the on going hot topic women in comics; Cloonan takes a very humble approach on the matter. In her words, “As much as I feel like I don’t represent women in comics, I don’t feel like I can carry that flag cause it’s too heavy (laughs). I represent myself, but at the same time I love to encourage young girls to get into drawing comics, get into reading comics.”

Her outlook on the future of comics is as upbeat as the artist’s demeanor. Cloonan talked about how all the conversations and strides we take today will pay off ten years from now. The artist emphasized, “It’s going to be healthier, it’s going to be bigger and we’re going to see even more amazing comics.”

Listen to our entire conversation below to hear just how fabulous Becky is:

Becky Cloonan isn’t just the story of a female creator in comics. After spending some time with her you start to see that she’s the tale of a girl who wants to tell stories through a lens of her ever-evolving perspective while along the way encouraging those of us with the same fears and anxieties to pursue their passions. The industry is a much better place for having her and you just can’t say that about everyone.

If you’re one of the five people on earth who haven’t read True Lives of the Fabulous Killjoys check it out in stores and through Dark Horse Comics. Becky’s new Image book Southern Cross will be available in stores this Winter.

Just to prove that the Bat office is going WILD with art, Becky Cloonan posted her Monster variant cover for Batman for October, which will have “Horror” as a variant cover theme. Me likey!

 The Batverse is getting two ongoing spinoff series, according to EW. And not a mention of the “New 52″ in the pr….In Arkham Manor, Wayne Manor gets turned into…a home for the insane. Whch could just be Batman and Robin, but you get the point. CReative team is writer Gerry Duggan and artist Shawn Crystal.

In Gotham Academy, it’s Gossip Girl meets Gotham with the adventures at Gotham City’s most prestigious prep school. The words “twisted teenybopping universe” were used. The writers are Becky Cloonan and Brendan Fletcher and artist is Karl Kerschl.  

This is the most non-New 52 book announced since the New 52 started. Actually both covers look very non-New 52ish — could this be the influence of Batman temporary editor Mark Doyle? 

Both books hit in October. 

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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.

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Thought Bubble 2013 have announced a second list of guests for their convention this year, which, I notice, means the convention has a brilliant gender parity. Of the 21 guests so far announced, 10 are female!

That might not sound like much, but British conventions have struggled with this in the past – last year’s Kapow Comic Convention was widely criticised for not having any females on the guest-list, to which Mark Millar at the time responded:

“The reason the comic guests are mostly male is because the biggest names in UK comics are male.”

Well, this year’s Thought Bubble Convention currently has a guestlist of ten female creators and eleven males (with that slight disparity being caused by Paul Cornell, ironically!) in total. And joining the previously announced Ming Doyle, Emma Rios, Robin Furth, Annie Wu, Isabel Greenberg, Becky Cloonan, Fiona Staples, will be Jordie Bellaire (a colourist, at a convention?!), Hope Larson, and Emma Vieceli. 

So… I think that pretty effectively shuts down Millar’s argument, eh?

Also just announced are Paul Duffield, Declan Shalvey, Antony Johnston, and Francesco Francavilla. A full guest list can be found here.

TweetBecky Cloonan, she of making universally acclaimed mini-comics when not drawing Batman, Swamp Thing, Northlanders and Demo fame, has just announced that this year she’ll be publishing her third mini-comic. This will follow the previous success of her self-published comics Wolves and The Mire. Called Demeter, here’s the teaser image for the comic Cloonan revealed only scant moments [...]

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One of the great comics from the Plane of Limbo, The Fabulous Killjoys is finally coming out this June, with a Free Comic Book Day preview. You may recall this collaboration between My Chemical Romance’s Gerard Way, writer Shaun Simon and artist Becky Cloonan is the print component of MCR’s 2010 SF concept album, Danger Days: The True Lives of the Fabulous Killjoys. Video’s for the album told the story of a bunch of heroic outlaws battling an evil Grant Morrison. Long delayed by Way’s hectic schedule, the book is finally coming out!

UPDATE: Comics Alliance has an interview with Way and editor Scott Allie about Killjoys and the next outing of the Umbrella Academy saga, Hotel Oblivion (Above)

GW: Yeah, that’s the greatest benefit of the break, which another thing about that break is important to point out is that we were recording an album. So it was weird because I guess the extracurricular activities I would do or the other stuff I was doing meant it really wasn’t a break at all. So that was difficult.

SA: And originally Killjoys was just a comic and then it was an album and a comic, but the album had to get done first. And now the comic is a completely different comic than it was going to be. The reason is that the Killjoys that he originally conceived is so different from the Killjoys that’s about to come out, because the album did a certain amount of what the original intent was. So there’s different characters and a whole different arc. The hiatus made it better, but it also transformed it into a whole different thing.

PR from publisher Dark Horse:

In 2009, when Dark Horse first announced a new project from Grammy-nominated frontman turned Eisner-winning comics writer Gerard Way (The Umbrella Academy), the response from music and comics fans alike was overwhelming. Now, Dark Horse is thrilled to announce that Gerard Way, Shaun Simon, and Becky Cloonan’s highly anticipated sci-fi epic will finally see publication in 2013!

Welcome to Battery City, where the disease is the cure!
 
In My Chemical Romance’s critically acclaimed album Danger Days: The True Lives of the Fabulous Killjoys, the Killjoys fought against the tyrannical megacorporation Better Living Industries. It cost them their lives, save for one—the mysterious Girl. Today, the followers of the original Killjoys languish in the desert while BLI systematically strips citizens of their individuality. As the fight for freedom fades, it’s left to the Girl to take up the mantle and bring down the fearsome BLI or else join the mindless ranks of Bat City!
 
“The original idea for the comic informed the record,” said Gerard Way. “The record helped refine the idea, and then Becky had done a drawing of the Girl for the single ‘The Only Hope for Me Is You’ and I saw it and thought, this is the comic. It’s basically the last video, it’s the last part of the Killjoys story, while at the same time being totally its own thing.”
 
“I think we have created a broad range of characters here,” said cowriter Shaun Simon. “A lonely teenage girl hiding from her past in the desert. A couple of android call girls wanting nothing more than to be together. An aging assassin with a secret that could destroy his life . . . Even though these characters are living in a bizarre sci-fi world, their struggles are the same we face in our own.”
 
“The world of the Killjoys is full of visual opposites—from sprawling deserts to urban junkyards—and a cast of characters to match,” said artist Becky Cloonan. “It’s been a challenge to encompass all of this in my art, but woven into the world building is a human spark that lights this story on fire and gives me so much to draw from.”
 
As announced at New York Comic Con, an early look into this world will be published as part of Free Comic Book Day 2013, with the first issue hitting stands the following month on June 6!

[Becky Cloonan is a writer and artist who has worked on books like Demo, Northlanders, American Virgin and recently with recurring collaborator Brian Wood for Dark Horse’s relaunch of their Conan property. She’s also swiftly becoming the King of Self-Publishing, with last year's self-published short story Wolves being almost as well-received as her new work, The Mire, available now.

She’s a woman of several phrases, but two of them in particular inform her streak of independent creativity: Comics Rule Everything Around Me (CREAM) and Self-Publish Or Die (SPOD? I don’t think this one was meant to be made into an acronym).

I got the chance to stammer questions at Becky recently, during a busy signing for The Mire at Travelling Man in Leeds (that’s in the United Kingdom, fact-fans)! Come, and read the stammering and answers in equal measures!]

Steve: [utilising a fade-in introduction] ….and your latest story is The Mire, a sequel to Wolves, which came out last year-

Becky Cloonan: Almost exactly a year ago. I launched Wolves at TCAF, and I did the same with The Mire this year.

Steve: You fully self-published this, right? You not only wrote it, and drew it, but you even made sure to choose the quality of the paper and the production values that went into it.

Becky Cloonan: Yes. I really like the feeling when you pick up a short story and you can feel quality in the production. When you pick up a monthly comic, it’s floppy and the quality feels more disposable. I think part of that, at least for me, is in the paper – when it’s cheap, and thin, you feel more free to pick it up and then throw it away. I wanted to have something which felt like “once you have it, you keep it”.

Steve: [Unintelligible stammering]

Becky Cloonan: …sure. My short stories – I want people to have a reason to re-read them and come back to it, and if I want to have a story with that sense of longevity, it needs to feel good when you open it up. It’s a little more expensive to put things out that way, but I hope it adds to the experience when you have it in your hands.

Steve: Is it a particularly personal work?

Becky Cloonan: In the sense that… it’s about stuff I’m really interested in. It’s got historical stuff in it, and fantasy – but not high fantasy stuff, it’s a little more grounded

Steve: Like the original gothic stuff. Only a little part of any given story would be openly supernatural, while the rest of the narrative tended to be grounded and realistic, as counter-balance.

Becky Cloonan: That’s exactly the kind of thing. It’s very medieval , supernatural, paranormal.

It’s not necessarily stuff that’s happened to me, or based on things I’ve had happen, but the themes speak to me. I do try to write about what I know, and things I’m familiar with. And I try to make sure it’s universal. Everybody’s experienced a betrayal, and can relate to some feeling of having once been stabbed in the back, and so I can talk about that and have readers relate to it. It’s a feeling that I want to get out from the book, and have readers experience with me.

Steve: [who watched a Louis Theroux