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IDW Entertainment, the production arm of the company, has signed with the WME talent agency for representation. WME will represent all film and television projects for IDW, which was formerly repped by Circle of Confusion. THR has a bit more on the deal:

The agency will represent all film and TV projects for the company, a division of comic book publisher IDW Publishing. IDW Entertainment was launched in 2013 and currently is in development on adapting bestseller V-Warswith Dexter’s Tim Schlattman,Pantheon with Michael Chiklis, Douglas Adams’ Dirk Gently’s Holistic Detective Agencywith Chronicle’s Max Landis, Life Undeadwith Agents of SHIELD’s Paul Zbyszewski andBrooklyn Animal Control, from Splinter Cell’sJ.T. Petty.

“IDW Entertainment’s representation with WME aligns our upcoming projects with an unparalleled roster of talent while ensuring we continue to release the most creative and exciting entertainment possible,” IDW Entertainment president David Ozer said in a statement.

THR inadvertently selected a rather ironic cover to illustrate their story: The Star Trek/Apes crossover is a Boom co-production and features the licensed comics that make up much of of IDW’s output—which makes developing its own material a bit more difficult. For instance, Brooklyn Animal Control, by J.T. Petty (Splinter Cell, Bloody Chester) and artist Stephen Thompson (Star Trek: New Frontier) is a digital release. However, the acquisition of Top Shelf should help with that end of things.

By: Alexander Jones

We just reported on a huge Boxing Day sale across Comixology, but there is one $9.99 collection to rule them all (aside from the Star Wars sale today–that thing is crazy!) The IDW Recent Hits/Discovery sale features a total of 20 great comics for half of the price. The best part, is that many will get a chance to try out some brand new titles that they have likely never read before. The sale is through Comixology only, and features a variety of great first issues that should leave fans frothing at the mouth to read more. Hurry and grab these books as they are only available till the 1st of January. Those wanting to venture out and try some titles that are outside of the mainstream without being too far removed from licensing can find some great selection here. Here is a breakdown of the issues in the collection:

1. Angry Birds/Transformers Issue #1 Then $1.99 Now $0.99
2. Cartoon Network: Super Secret Crisis War! Issue #1Then $1.99 Now $0.99
3. Dungeons & Dragons: Legends of Baldur’s Gate Issue #1Then $1.99 Now $0.99
4. Edward Scissorhands Issue #1Then $1.99 Now $0.99
5. Judge Dredd: Anderson, Psi-Division Issue #1Then $1.99 Now $0.99
6. Little Nemo: Return To Slumberland Issue #1Then $1.99 Now $0.99
7. Littlest Pet Shop Issue #1Then $1.99 Now $0.99
8. Ragnarok Issue #1 Then $1.99 Now $0.99
9. Rot & Ruin Issue #1Then $1.99 Now $0.99
10. Samurai Jack Issue #1Then $1.99 Now $0.99
11. Skylanders Issue #1 Then $1.99 Now $0.99
12. Star Slammers: Re-mastered! Issue #1 Then $1.99 Now $0.99
13. Star Trek: Harlan Ellison’s City on the Edge of Forever Issue #1Then $1.99 Now $0.99
14. Teenage Mutant Ninja Turtles/Ghostbusters Issue #1 Then $1.99 Now $0.99
15. The Bigger Bang Issue #1Then $1.99 Now $0.999
16. The October Faction Issue #1 Then $1.99 Now $0.99
17. Transformers vs. G.I. Joe Issue #1Then $1.99 Now $0.99
18. Transformers: Drift: Empire of Stone Issue #1 Then $1.99 Now $0.99
19. V-Wars Issue #1 Then $1.99 Now $0.99
20. Winterworld Issue #1 Then $1.99 Now $0.99
21. Angry Birds/Transformers Issue #1 Then $1.99 Now $0.99
22. Cartoon Network: Super Secret Crisis War! Issue #1 Then $1.99 Now $0.99
23. Dungeons & Dragons: Legends of Baldur’s Gate Issue #1 Then $1.99 Now $0.99
24. Edward Scissorhands Issue #1 Then $1.99 Now $0.99
25. Judge Dredd: Anderson, Psi-Division Issue #1 Then $1.99 Now $0.99
26. Little Nemo: Return To Slumberland Issue #1 Then $1.99 Now $0.99
27. Littlest Pet Shop Issue #1 Then $1.99 Now $0.99
28. Ragnarok Issue #1 Then $1.99 Now $0.99
29. Rot & Ruin Issue #1Then $1.99 Now $0.99
30. Samurai Jack Issue #1 Then $1.99 Now $0.99
31. Skylanders Issue #1 Then $1.99 Now $0.99
32. Star Slammers: Re-mastered! Issue #1Then $1.99 Now $0.99
33. Star Trek: Harlan Ellison’s City on the Edge of Forever Issue #1 Then $1.99 Now$0.99
34. Teenage Mutant Ninja Turtles/Ghostbusters Issue #1Then $1.99 Now $0.99
35. The Bigger Bang Issue #1 Then $1.99 Now $0.99
36. The October Faction Issue #1 Then $1.99 Now $0.99
37. Transformers vs. G.I. Joe Issue #1 Then $1.99 Now $0.99
38. Transformers: Drift: Empire of Stone Issue #1Then $1.99 Now $0.99
39. V-Wars Issue #1 Then $1.99 Now $0.99
40. Winterworld Issue #1 Then $1.99 Now $0.99

Not only are all these issues half the price, but there is also a $9.99 bundle for everything listed above!

An oversize artist’s edition of Don Rosa’s devoutly worshipped The Life and Time of Scrooge McDuck?

You’ll have to wait until April, true believers.

Rosa’s epic biography of heroic skinflint McDuck is considered a modern classic, and in Scandinavia, it is mandatory for homes to have a small shrine to it.* This volume will take a proud place in those shrines, I’m sure.

“Don Rosa’s stories are as fresh and entertaining today as they were when I first read them 25 years ago,” said IDW Special Projects Director, Scott Dunbier. “They are timeless treasures.”

This Artist’s Edition will measure 14” x 20” and come packed with 160 pages of high quality scans of the first 6 chapters of The Life and Times of Scrooge McDuck, covers, and layouts by Rosa. Two additional volumes will complete this epic saga with release dates still to be announced. This Artist’s Edition will set the precedent for something truly special for Disney, and Art fans.

Look for the newest entry in the Artist’s Edition library April 2015 available through your local comic shop or from IDW’s webstore: http://www.idwpublishing.com/shop/

* Only a small exaggeration.

The other day we mentioned a bunch of reprints coming out from Dover, several of them from the long ago era when Marvel published all kinds of original graphic novels and creator owned series, mostly under the guidance of Archie Goodwin at Epic. Well here’s another projects being brought back to light, Star Slammers by Walter Simonson, originally published by Marvel in 1983 as a graphic novel then a five issue mini series. As the title may indicate, this is not a deep think book—a lethal team of mercenaries kick the shit out of folks—but it IS Simonson at the peak of his powers. And that’s some peak. (It should be noted that peak has lasted until the present day.) Star Slammers: The Complete Collection will also include Simonson’s original notes for the series—which started like as a class project at the Rhode Island School of Design—with more than 60 pages of never-before-seen work.

The first printing will include a bound in signature plate with Simonson’s muuch-loved dinosaur signature. and it comes at NO EXTRA COST. This is our lucky day.

Beloved 80s cartoon icons Jem and the Holograms are coming back big time, with a Honda ad (below), a movie in the works for the end of next year starring Aubrey Peeples, and a new comics from IDW, to be written by Kelly Thompson (Storykiller, The Girl Who Would Be King) and drawn by Ross Campbell (Glory, Teenage Mutant Ninja Turtles). Sub covers will be by Sara Richard (My Little Pony, Kitty and Dino).

Thompson is also a long running columnist for CBG (She Has No Head) that The Beta has quoted many times, so congrats on netting such a great gig!

 It’s the 21^st century, and Jem and The Holograms are 21^st century girls! Meet Jerrica Benton, the gifted singer of The Holograms, a band that has the right look and the right sound… But one thing is holding them back—Jerrica’s crippling stage fright. Luckily, Jerrica is about to find help in the most unlikely of places when she discovers a forgotten present left by her father. And what she finds is truly outrageous!

 
“As a kid I was a huge fan of the original 80’s JEM AND THE HOLOGRAMS cartoon and so the chance to breathe new life into it for a savvy modern audience, not to mention to work with Ross, an artist practically destined to draw this book, is really a dream come true,” said series writer, Kelly Thompson.
 
Don’t miss the chance to get the five stunning rainbow foil covers that will be available for Issue One—one for each Hologram by artist Amy Mebberson (My Little Pony, Pocket Princesses), plus the whole band by series artist Ross Campbell—in a deluxe rainbow foil and hologram collectible box. A second box set for Issue two will feature another set of four covers by Mebberson and a group shot by Campbell—this time starring Jem’s greatest nemeses, The Misfits!
 
“Getting a JEM AND THE HOLOGRAMS comic going was a top priority for me when I started at IDW,” says Senior Editor John Barber. “It took three years, but Kelly and Ross came in with a style and attitude that really got Jem. They understand Jem’s appeal—I can’t overstate the impact Jem has had on generations of fans and readers.”

https://www.youtube.com/watch?v=VxokHywIlEs

Ryan Ferrier and Valentin Ramon’s D4ve, a Monkeybrian digital original about a middle aged robot who yearns for one last battle, is coming to print from IDW in February, with a new cover by Fiona Staples. Nice, eh? PR below:

The partnership between IDW Publishing and Monkeybrain has brought some of the most critically acclaimed digital comic-book series to an entirely new readership, and both are pleased to welcome another to the printed page: D4VE.
 
A war for Earth was fought and the robots have won but the results are far less “brave new world” and more of the “same old, same old.” Starting February 2015, fans of print comics will get the opportunity to meet D4VE, a great robot war hero who now is trapped behind a desk at a soul-sucking day job.
 
D4VE is the brainchild of series writer Ryan Ferrier and artist Valentin Ramon. In the five-issue series, D4VE battles traffic, mortgage payments, and the mundane when all he wants to do is battle monsters like in his glory days. But those days are gone…right? Little does D4VE know that something big is going to help snap him out of this mid-life: crisis.
 
“D4VE is a story so close to our hearts, and to be able to bring our special brand of bizarre to the monthly print market is, frankly, insanely freaking cool,” said series writer, Ferrier. “Monkeybrain blessed us with the opportunity to tell this story digital-first, and IDW is the perfect home—one built on unique and daring storytelling—for our madness to reach even more readers.


We’d have to invent a new word to express our excitement, so we did: we are totally superextribbulated for D4VE to come out through IDW.”
 
“Having D4VE find a new audience in print through IDW is a huge honor,” said series artist, Ramon. “They are a publisher that inspires so much of what we have aimed to do with our story—pushing boundaries and expectations, featuring characters you can connect with. We hope our readers love D4VE as much as we loved creating it.”
 
Come early 2015, you can check out the five-issue miniseries that Bloody Disgusting calls “a master class in robotic mid-life crisis… ripe with laughs” and featuring a first-issue cover by Fiona Staples (Saga).

The enigmatic comics legend Basil Wolverton(1909-1978) is celebrated this week with the release of IDW’s Artist’s Edition Basil Wolverton’s Weird Worlds. IDW’s series of art books collects the best examples of original comics art that still exists, and reproduces that art at it’s original size(15″ by 22″ for this edition), preserving the little imperfections, and notes that might have been left on the original page. These newly printed artifacts are a perfect way to enjoy work by one of your favorite artists, and it serves as a perfect introduction to new fans.

Wolverton reached the pinnacle of his fame when he won Al Capp‘s legendary ugliest woman contest, drawing Lena the Hyena, which was featured on the cover of Life Magazine. His work was prominently featured in the early issues of Mad Magazine, and his Spacehawk & Powerhouse Pepper strips were published in various Timely comics during the 1930’s & 40’s. In the 1940’s, Basil Wolverton became a minister for Herbert W. Armstrong’s Radio Church of God, which took a literal interpretation of the apocalyptic parts of  the Bible. Some of this point of view is reflected in Wolverton’s work, and that dark side certainly trickled into many of his commercial pieces, as well.

You can read more about the history of artist Basil Wolverton, and his interest in the end times here, which includes words from his son, Monte.

For more comics related art, you can follow me on my website comicstavern.com - Andy Yates

The Thrillbent digital comics imprint created by Mark Waid and John Rogers is coming to print from IDW, home to many a comics imprint. Starting next year, IDW will bring out print collection of Thrillbent titles, starting with Empire Volume Two and Insufferable,

“I love print comics,” said Waid in a statement. “While we have always proudly been digital-first, print was always in Thrillbent’s business plan–but for a start-up company like ours, it was cost-prohibitive. Once we proved our commitment to ongoing content–Thrillbent currently hosts literally hundreds of new comics, with more added every week–we were courted by several print publishers looking to partner. IDW was the clear choice–its track record for innovation is unbeatable and undeniable.”
 

Empire Volume Two is a sequel to the Eisner-nominated series co-created by Waid and artist Barry Kitson from 2000, which Waid describes as “the single most-asked about project in my career–‘When’s Empire coming back?’ is the one question I know I’ll hear at every convention or store signing”. Waid and Kitson have joined forces once again in 2014 to deliver new installments that continue the saga of Golgoth, a remorseless villain whose plans for world domination have won him the planet Earth… and made him the target of every inhabitant. As a kickoff to the larger Thrillbent partnership, IDW will produce an all-new edition of the long-sold-out Empire Volume One and launch it just ahead of Empire v2. Both books will debut next spring.
 
Also by Waid, with co-creator Peter Krause, Insufferable is a series that explores what happens when a crime fighter’s sidekick grows up to be less a hero constantly at war with his mentor–and what it would take to draw the two back together again for one last adventure. Krause, also Waid’s partner in crime on the 2007 series Irredemable, provides the artwork on this unique look at the superhero genre.

I was lucky enough to come across the Kickstarter for indy anthology Imaginary Drugs earlier this year. I received my PDF copy a few months ago and it was an entertaining, eclectic piece of comic book entertainment with a wide variety of talented writers, artists, colorists and letterers. IDW even ended up picking it up and is releasing an expanded version of the softcover in January. Here’s the solicit for that:

Art by Jonathan Brandon Sawyer and Christine Larsen.

I wanted to learn more about the trip of Imaginary Drugs from its beginning to today, so I spoke to one of the men behind it, Michael McDermott. I talked to him about everything from his beginning with the Small Press Commandos community, the creation of Imaginary Drugs, Kickstarter success and the upcoming release from IDW. Enjoy this interview with writer and editor Michael McDermott.

How did you get involved in FUBAR?

YEARS ago, when ComicSpace was a new thing, I had worked on a pitch for an ongoing 2 story split book called Banned in Japan.  NC Winters gave us an amazing cover, Felipe Cuhna handled art duties on half the book titled ‘The Bombed Squad’ and this dude Jeff McComsey handled the art on the other half called “Murder Culture” (I actually repurposed the concept for an Imaginary Drugs short with the same name).  Pitched around, heard no word, found McComsey a while later via social media, saw his call for short stories for Volume 2 of this FUBAR thing he was assembling and the rest is history.  FUBAR was really a huge blueprint for me when it came to putting together Imaginary Drugs.

Art by Steve Becker.

Do you know how the Small Press Commandos came about?

I THINK it was started by the relentless core group of indie creators that had put out the first FUBAR Volume: European Theatre of The Damned, and were then working with 215 Ink.  I think I stumbled onto it around the time I started working with FUBAR and perhaps it’s best its true origins lie slightly shrouded in mystery.  It was a tremendous resource at the time for someone who was interested in getting their work into the hands of an eager audience.  A lot of my peers in the group have really blossomed over the last few years and it’s exciting to see the likes of Jason Copland and Christopher Peterson go on to Marvel or Dark Horse gigs.  Or to watch the terrifying Kickstarter success of FUBAR: Mother Russia campaign.

How does such a close-knit group help you market each other’s comics?

It’s nice because when you promote someone else’s work in the group, you’re usually literally endorsing the product they’ve put together and not just recycling some spammy PR release.  We’ve probably watched the project grow through art or pitch postings so we’re really pulling for a lot of what comes out of the community.  Rising tide lifts all ships and all.  Seeing what some of our fellow Commandos are capable of and achieving also fuels the fire under our own asses as creators to KEEP WORKING as well, I’d think.

“Pretty Lights” by Christine Larsen.

Do you think that community played a part in getting everyone, including artists, to work for royalties instead of upfront pay?

What do you think of Kickstarter as not just a fundraiser but a marketing tactic?

Well, I can definitely give you a more informed opinion in a month or so once our preorders close on ID, but I can’t see how it hurts!  It’s empowering having this independent stable of interested consumers willing to financially back your creative endeavors. No matter what, throughout the entire process of bringing Imaginary Drugs to fictional life, I’ve kept my loyalty firmly focused on our Kickstarter backers. Treat them right, don’t suck, and you have a fanbase of rabid supporters that you want to create for.  Seriously, my dealings with most backers has been purely positive and inspiring when need be.  An anthology like this is a lot of work, and it’s awesome to hear from people who appreciate the effort and the fruits of the labor.

$10 is a low price point for a 64-page comic on Kickstarter, let alone the 160 page one it turned into. How did you decide on that price point?

Well, originally we were shooting for a 56-page anthology.  As we added stretch goals and the beast grew, it didn’t dawn on me to sell out the $10 reward tier and raise the price point until much later in the campaign.  So… bad math 101!  Once we got the IDW publishing deal in place, it took a lot of the stress off of us mass distribution wise and allowed us to focus solely on making the Kickstarter version of the book and rewards as ass-kicking as humanly possible.

“21” by Eric Esquivel and Will Perkins.

How did ID land at IDW?

Why do you think anthologies on Kickstarter have been so successful, both in raising money and getting deals at publishers like IDW?

As a reader, I like the idea of getting a finite product.  Creators aren’t going to ask me to invest in their 80-issue epic, aren’t going to ask me to blindly trust their ability to have it all make sense by issue #25.  Nope, it’s get on the stage, entertain me and leave me wanting more.  An anthology is a much safer way for a reader to test the waters on talent they may be unfamiliar with or unsure of.  As for publishers, again, it’s probably a safer way to test the waters with newer talent and see if there’s an audience response to any particular work.  Pure speculation on my end however.  I think for Imaginary Drugs it was all in the title.  How could you not want that TITLE alone on your publishing roster?

Art by Jonathan Brandon Sawyer.

How did you decide on that title?

By telling all the crazy stories in Imaginary Drugs, you’ve already built a big, interesting world. Do you want to tell more stories in it, either with another anthology or as a series about some of the characters?

How is Kickstarter fulfillment going?

I think it’s going well but the ultimate opinion lies with our backers.  As you mentioned, we wound up with our Kicksrtarter/self published version of Imaginary Drugs coming in at 160 pages.  The vast, vast majority of backers made out like bandits, because well, they’re getting a 160-page full size tpb shipped for $10. That’s an absolutely insane deal even if you think the work sucks. We’ve got about 400 of our 650 rewards shipped and I’m regularly getting the rest out.  I swear to god, out of those 400 I have not had one single complaint about product, shipping (every comic bubble wrapped, taped, boxed, stuffed… I’m anal) or damages. We blew our April estimated delivery date… adding 100 + pages of comics that needed to be created in order to make it into the book knocked us off target a bit… but I’m pretty damn proud of what we’ve been able to deliver to our backers.  We’re not some low level throw-away-amateur Kickstarter hour over here.  The creators I have lined up, Jeff, Christine, Jonathan, K Michael, Jeff McComsey, Shawn Aldridge, Christopher Peterson, Stacy Lee, Alexis Zirrit, Eric Esquivel, Chris Lewis, Eryk Donovan, Aluisio Santos, Mark Bertolini, Rafer Roberts, Will Perkins, Magnus Aspli, Fabian Rangel Jr., Ryan Cody and MORE have been grinding out their own indie comics the last few years. I’ve watched them. They’ve earned their spots in Imaginary Drugs and they helped make our book and our deal a reality. They are my Spiritual Warriors (Jodo… Stand UP!).

“Old Blood/New Star.” Story by Michael McDermott. Art by JM Ringuet.

What did you learn, about the industry and yourself, as you’ve been in the process of getting a graphic novel published by a Big Five publisher?

Imaginary Drugs is now available for pre-order, and will come out in January. I’m high on it, and you should be, too.

IDW dropped a new title on X-Files fans today. Chris Carter’s other show Millennium will be coming to IDW in comics form. Written by Joe Harris, who also pens IDW’s X-Files: Season 10 and featuring interior art by Colin Lorimer, series creator Carter will reprise his “Season 10″ role as executive producer for this mini series. The show, which lasted three seasons, follows Seattle-based ex-FBI agent Frank Black (Lance Henriksen) as he tracked down serial killers using his paranormal ability to see through the eyes of murderers.

In an interview today Joe expressed his motivations on the new series, “Millennium” has a ton of great ideas that were never fully explored, along with shifting focuses of the show itself.”

The five-part mini series will spin out of the events of X-Files #17 and will have a lot of interaction between Mulder and Black, much like the TV show spun out of the X-Files show.

Millennium #1 will be available in early 2015 from IDW Publishing.

The Skeletons Outside The Closet Can Be The Most Dangerous

By David Nieves

Steve Niles has made a hell of a living in the horror genre. Having critical and commercial success can be a curse on any creator, but he’s constantly found new ways of invigorating humanizing takes on demons and monsters. His latest creation, IDW’s The October Faction, may be his weirdest story to date, and that’s far from a bad thing.

October Faction is the story of the Allan family. A faction falling apart at the seems from events in their past that are beginning to come full circle.  Frederick (a retired monster hunter) has been more focused on teaching his lessons and lectures about things that go bump in the night rather than being a father. His wife Deloris is sneaking around doing something sketchy behind his back that could have serious consequences for all involved. His son and daughter; both of whom have interesting abilities when it comes to specters, are figuring out a way to get long overdue attention from their father. While there’s teases of witchcraft, demons, and everything black magic has to offer; the real story is the family itself. We see this nuclear family has nuclear sized issues. In a way it feels comparable to if the Adams family became a dysfunctional mess, it wouldn’t just be their problem it would be all of ours.

The majority of debut issues in the market limp on a similar crutch of over exposition. Writers try to convey an exorbitant amount of information that steals the mystery from the narrative and consequently from the enjoyment of the readers. Niles crafts this opening chapter in the polar opposite. We get these gripping teases of who the Allan family was without overburdening the audience. A good story knows the necessary moment to peel back the information and October Faction is shaping up to go in that direction. That’s not to say the book doesn’t suffer from some minor opening flaws. The issue could have focused on Fredrick and his wife without having to introduce the daughter until future chapters and it ends a bit abruptly. However, none of that drastically hindered the enjoyment found within these pages.

IDW’s non-licensed properties all have a somewhat uniform aesthetic feel. October Faction fits right in with co-creator Damien Worm on art duties. Each page is one impressionist gothic painting after another. It’s a risky style for general comics’ audiences, but one that’s right at home in this specific genre. With Worm’s art you either really love the Kelly Jones and Sam Keith influences or you really hate them, personally I found myself enjoying the art. Although one of the challenges of the series going forward will be balancing details of the action with heavy darkness the illustration needs in order to thrive. It seems as though the creators are up to the task.

The October Faction is not for everyone, but horror comic fans will find a new interesting world where monsters and legends will be presented in unique ways. Issue one had a few stumbles but its got enough hook for the audience to stick around see what the next few issues will bring.  This is shaping up to be Steve Niles doing what he does best; figuring out his own demons and desires through storytelling which makes October Faction worthy of being on your radar.

IDW will have a booth at New York Comic-Con—they don’t always set up, so make the most of it, with a line-up of signings including Walt Simonson, Louise Simonson, Joe Harris, Gabriel Rodriguez and some of the crew of the Teenage Mutant Ninja Turtles cartoon:

BOOTH #1844
 
Thursday October 9th
 
1:00 – 2:00     America’s Army – M. Zachary Sherman (*Check out the exclusive giveaways!)
2:00 – 3:00     Transformers – John Barber, Sarah Stone, Andrew Griffith, Livio
                          Ramondelli, Mairghread Scott
3:00 – 4:00     Star Trek – Scott Tipton, David Messina
                          (*Check out the free Star Trek/Planet of the Apes Ashcan!)
4:00 – 5:00     Manhunter Artist’s Edition Launch Party! – Walter Simonson
                          (*Check out the show exclusive hardcover!)
4:00 – 5:00     Zombies vs Robots, Mars Attacks: First Born  – Chris Ryall
5:00 – 6:00     Cartoon Network Presents: Super Secret Crisis War! & More! – Louise
                          Simonson, Derek Charm
6:00 – 7:00     My Little Pony – Tony Fleecs, Agnes Garbowska, Sara Richard, Andy
                          Price
 
Friday October 10th
 
11:00 – 12:00   Dungeons & Dragons – Jim Zub, Max Dunbar
                            (*Check out the free D&D Ashcan!)
12:00 – 1:00     V-Wars, Rot & Ruin – Jonathan Maberry
                            (*Check out the show exclusive V-Wars TPB!)
1:00 – 2:00       Godzilla: Rulers of Earth – Chris Mowry, Jeff Zornow
1:00 – 2:00       Cartoon Network Presents: Super Secret Crisis War! & More! – Derek
                            Charm, Derek Fridolfs
2:00 – 3:00       Manhunter Artist’s Edition, Ragnarök – Walter Simonson
                            (*Check out the show exclusive hardcover!)
3:30 – 5:00      Teenage Mutant Ninja Turtles Animated TV Blowout! – Ciro Nieli
                           (Director), Brandon Auman (writer), Rob Paulsen (voice of Donatello), Greg Cipes                                     (voice of Michelangelo) (*Check out the free poster from Nickelodeon!) (*ticketed                                           signing – See employee for Details)
5:00 – 6:00      Teenage Mutant Ninja Turtles – Paul Allor, Dario Brizuela, Cory Smith,
                           Charles P. Wilson III
6:00 – 7:00      Little Nemo: Return to Slumberland, Locke & Key – Gabriel Rodriguez
                          (*Check out the show exclusives!)
6:00 – 7:00      Kill Shakespeare  – Anthony Del Col, Conor McCreery, Andy Belanger
 
Saturday October 11th
 
10:00 – 11:00   Skylanders – David A. Rodriguez
                             (*Check out the show exclusive hardcover!)
11:00 – 12:00    My Little Pony – Tony Fleecs, Sara Richard
12:00 – 1:00      X-Files  – Joe Harris, Sam “Mister-Sam” Shearon, Joe Corroney,
                            Greg Scott
12:00 – 1:00     Killogy Halloween Special – Alan Robert
1:00 – 2:00       G.I. JOE – Mike Costa, Robert Atkins
1:00 – 2:00       America’s Army – M. Zachary Sherman (*Check out the exclusive giveaways!)
2:00 – 3:00       Star Trek – Scott Tipton, David Messina, Mike Johnson
                           (*Check out the free Star Trek/Planet of the Apes Ashcan!)
3:00 – 4:00      Cartoon Network Presents: Super Secret Crisis War! & More! – Louise
                           Simonson, Derek Charm
4:00 – 5:00      Manhunter Artist’s Edition, Ragnarök – Walter Simonson
                          (*Check out the show exclusive hardcover!)
4:00 – 5:00      Garbage Pail Kids – Dean Haspiel, Vito Delsante
                          (*Check out the free Garbage Pail Kids Ashcan!)
5:00 – 6:00      Little Nemo: Return to Slumberland, Locke & Key – Gabriel Rodriguez
                          (*Check out the show exclusives!)
5:00 – 6:00     Godzilla: Rulers of Earth – Chris Mowry
6:00 – 7:00     Transformers – John Barber, Sarah Stone, Andrew Griffith, Livio
                          Ramondelli, Mairghread Scott
 
Sunday October 12th
 
11:00 – 12:00   America’s Army – M. Zachary Sherman (*Check out the exclusive giveaways!)
12:00 – 1:00     Little Nemo: Return to Slumberland, Locke & Key – Gabriel Rodriguez
                            (*Check out the show exclusives!)
1:00 – 2:00       The Illegitimates  – Taran Killam (Saturday Night Live), Marc
                            Andreyko
2:00 – 3:00      Garbage Pail Kids – Dean Haspiel, Vito Delsante
                           (*Check out the free Garbage Pail Kids Ashcan!)
3:00 – 4:00      Skylanders – David A. Rodriguez
                           (*Check out the show exclusive hardcover!)

By Bruce Lidl

A number of comics publishers today joined comiXology’s no-DRM initiative, and will start offering their titles without digital anti-copying technology. Comixology’s announcement at San Diego in July that publishers could now distribute DRM-free focused on a small group of early enthusiasts, including Image Comics, Dynamite Entertainment, Zenescope Entertainment, MonkeyBrain Comics, Thrillbent, and Top Shelf Productions. From conversations at San Diego, it was clear a number of publishers at San Diego would be embracing DRM-free digital comics soon, and  IDW Publishing, Valiant Entertainment, Oni Press, Fantagraphics Books, Aspen Comics, Action Lab Entertainment, Th3rd World Studios, A Wave Blue World, Blind Ferret Entertainment, Caliber Comics, Creative Impulse Entertainment, Devil’s Due Entertainment, GT Labs Comics and Kingstone Media have just made it official.

It is not clear to what extent the publishers will be extending DRM-free backup capabilities to the whole range of their titles, or to back issues that were previously distributed with DRM. In a quick scan of offerings Fantagraphics has already made some titles available, including today’s release of Cosplayers #2 and Jim Woodring’s Jim. IDW has made today’s Transformers: More Than Meets the Eye Ongoing #33: Dawn of the Autobots DRM-free but Godzilla: Cataclysm #2 is not. It may be that it will take time to implement the DRM-free option, or it may be that particular deals with license-owners or individual creators do not allow it. Time will tell how far DRM-free gets extended by these publishers.

As a trend, though, the indications are clear that more and more publishers are embracing a flexible approach, giving their customers increased options and autonomy over their comics purchases. The movement is strong among small to medium publishers, but should put some pressure on the Big Two (and Dark Horse) that have so far resisted the call for less restrictions on their crown-jewel intellectual properties.

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Author D.J. Kirkbride has been an important force in the comics’ industry for years now spearheading projects like Amelia Cole for Monkey Brain Comics with Co-Author Adam Knave and artist Nick Brokenshire. As Amelia Cole continued to grow larger, the author then shifted gears along with Adam Knave to work on Never Ending, a book about an immortal superhero. Now the author is going solo, and launching a new title from IDW Comics entitled The Bigger Bang, a story about a second of the fabled Big Bang events spawning a Superhuman golden age type hero. Through the unique vision of artist Vassilis Gogtzilas, the two are likely going to craft a superhero tale unlike any other with The Bigger Bang. Author Kirkbride shared some further insight into the project:

Where did your interest in Superheroes stem from, and what do they mean to you?

There is nary a memory from a time in my life where, if I were being honest, I didn’t wish I was wearing a cape. SUPERMAN: THE MOVIE came out when I was still very new to the world (yeah, I’m old), and it is the basis of my entire outlook on everything somehow. I love heroes, and super ones are, you know, even better. The idea of bigger than life characters helping the regular folk, having epic struggles and battles… what’s not to love?

After NEVER ENDING, why continue to deconstruct the modern Superhero? Is this going to be a better deconstruction of the superhero than WATCHMEN (no pressure or anything)?

THE BIGGER BANG has nothing to do with WATCHMEN. It is as far from “what if superheroes were real?” as a comic could get. In my notebook, I one time wrote “THE BIGGER BANG: A Cosmic Fairy Tale”. That’s what it really is. It is not a deconstruction of anything. I don’t really like taking things I love apart, to be honest. Superheroes are great. I don’t want to pick at them. People much smarter than me already have.

How did the creative team come together?

Vassilis and I met on some anthologies I was editing. We worked together on a short story for an anthology called TITMOUSE MOOK Vol. 2, along with my co-writer pal Adam P. Knave. It was a lot of fun, and we tried to get some other things going that never worked out for whatever reason. After a while of doing our own things, Vass sent us a picture of a big, amazingly over muscled superhero guy floating in space and asked if we wanted to do a cosmic superhero book with him. Adam and I were (and still are) writing AMELIA COLE together, but he was (and still is) also co-writing a series called ARTFUL DAGGERS, plus who knows how many novels and stories and… the guy’s way more prolific than me. So, he didn’t feel he had time. I had plenty and was hungry to try something new, without the crutch of writing with someone way smarter than me, so I went for it. Vass is obviously very involved in the story piecing and development, visually and thematically, plus our IDW editor Justin Eisinger has helped me a great deal, being a sounding board and a source of ideas. And mainly saying, “LESS WORDS, MAN!” which has worked out well, I think.

Is the group worried about the series possibly touching on religious implications, or is the team instead looking at the incident from an alternate history touchstone?

We do go along with the Big Bang origin of life, but I’d be surprised if there was any controversy or anything. This is a crazy science fantasy adventure with far out ideas and drama so I personally find it pretty funny, but we don’t talk about religion at all, actually.

This is D.J. Kirkbride’s first solo writing effort for a while isn’t it? What was it like to tackle a project with fewer collaborators?

Vass and Justin have really helped guide the story with me, and our letterer, Frank Cvetkovic, has helped keep the words and the art together, the glue, honestly. But, to be perfectly frank, it’s been scary. Aside from a few anthology shorts, I’ve co-written all of my comics’ work with Adam. Doing this without him was a challenge I really felt I needed though. He has read different edits of the first issue, because his feedback means a lot to me, but, yeah, I wrote the words without him. It freaked me out and is still freaking me out. The wacky part is that Adam is far better versed in big cosmic comics than I am, and this kind of huge space opera madness is right up his alley, whereas I tend to lean toward smaller, more personal and dialog-heavy writing.  How did the team decide that IDW was the right home for the project?

Vass has worked with IDW on a great mini-series called THE ADVENTURES OF AUGUSTA WIND, written by none other than J.M. DeMatteis, one of the best comic writers of all time — no pressure to be his next writer, right? I also work with them on the AMELIA COLE print collections, so it seemed like a good fit. They put out good books, but it wouldn’t have happened without Justin Eisinger. Something about the core of our pitch, the basic idea of this character’s birth causing so much destruction with pseudo-science and fantasy spoke to him, I guess. He championed us, and this book wouldn’t be happening with out that fella.

What does the supporting cast for the book look like?

It’s a diverse group. The lead character, Cosmos, is the only one that looks traditionally human — at least an amazingly muscular human. There’s a kinda heavy, tentacled, green monster in a crown called King Thulu who kind of runs this sector of the multi-verse. His best warrior pilot is a three-eyed darker green lady named Wyan. She’s the character that has maybe the most interesting arc to me, and it grew very organically. There are many other aliens of various shapes and sizes, some of which started with brief descriptions from me, many just visualized from Vass’s amazing mind.

Is it difficult to compress a story into a limited space of pages in four issues after working on the AMELIA COLE series from Monkey Brain?

Actually, AMELIA COLE is the first ongoing series I’ve ever worked on, so that was the challenge at first. Before that, I’d gotten very used to writing really short stories for anthologies. I like stories with endings, even AMELIA COLE will have one someday (hopefully far, FAAAAAAR off into the future), so that’s how we designed and pitched THE BIGGER BANG. We had a story with a beginning, middle, and end. If possible, I’d love to do more one day, but if not, these four issues compose a complete story that I think folks will enjoy.  Is Vassilis Gogtzilas’ work completely painted in the title?

No, he is doing pencils, inks, and digital colors for the interiors. The painted covers were his idea, and I love them. It’ll be great seeing it in print and looking at it up close, because he is not a careful, timid painter. You can see the chunks and textures of the paint. It’s really cool. I love all the covers and can’t wait to be able to share them. I think they get better with each issue.

Does his work and style alter from the different projects he draws?

Oh yeah, Vass is eclectic. His style can vary within a project–from page to page. It’s not random. He’s a very emotional artist, and he’s more concerned with how the art FEELS than realism. It’s been an interesting challenge writing for him sometimes because his mind moves so differently than mine. It’s amazing, and I would have never come up with something like this on my own. It is a true collaboration.

When can fans dash out to their local comic book shops to pick up THE BIGGER BANG #1?

Issue 1 is out November 19, 2014. If anyone out there is interested, please pre-order it with item code SEP140487. Pre-orders are way too important, but that’s the way it is. There is a lot of competition for comic shop shelf space, so an indie book like this can use all the pre-help it can get. I’m really excited to see what the reaction will be. We’ve put together something really interesting and fun. I’m happy to get to be a part of it.

Thanks for your time!

Thank YOU, good sir!

by Alexander Jones

The acclaimed writer Ron Marz is tackling the popular video game franchise known as Skylanders in comic book form. The comic was announced this morning from IDW on their site under the San Diego Comic-Con exclusive content. The first installment into the series known as the Skylanders #0 will be available at the show. Marz was also involved in the Skylanders SWAP Force comic from IDW. Joining him on the new series are artists David Baldeon and Mike Bowden. The new title starts in October, and is going to be an ongoing monthly series. The author stated that in the first Issue of the series, every single character from the franchise will be present. He also teased multiple protagonists in the book.

More as the story develops.

More comics! More properties! More to read! IDW has just packed with Comics Experience, LLC, the online comics school run by former IDW editor Andy Schmidt to publish a line of mini-series by new talent. According to PR, the material will be “creator owned.” IDW editor Bobby Curnow will also work on the project. The line-up:

• Drones by Chris Lewis and Bruno Oliveira, the story of two Predator drone operators on a bizarre journey that will take them to a terrorism-themed hotel in Las Vegas, in a war where terror and entertainment have begun to blur. 
• Creature Cops: Special Varmint Unit by Rob Anderson and Fernando Melek, about animal control officers in a near-future city who must deal with patchwork, hybrid animals, from gator-snakes to panda dogs.
• Gutter Magic by Rich Douek and Brett Barkley, set in a world where World War II was fought with magic, and the heir to a powerful magical dynasty can’t cast a spell to save his life. 
• Tet by Paul Allor and Paul Tucker, is a story of hard-boiled crime and star-crossed romance, set at the height of the Vietnam War and the decades that followed.

While this looks like a win/win for all—Schmidt gets to help students of his online courses; the creators get publishers and IDW gets more books by potential future stars (and market share) but is it really that simple? Schmidt explains more at Multiversity:

How did this partnership come about? Was part of the Comics Experience plan to always publish the work of its participants?

AS: My priority at first was to help people find their own path. That meant focusing on the courses and then the Creators Workshop. Now that we’ve grown and many of our alumni and Workshop members are actively working in the industry, publishing was the next logical step.

But it wasn’t always the next logical step. Something started to shift in the comics industry and I noticed it maybe two years back or so. The opportunities for new talent were becoming fewer and further between—and it wasn’t for lack of great talent. So I started rethinking my stance on publishing now that I saw a need for it. It seemed more important to our mission to give that extra push for creators, and frankly, to the industry.

Once I started looking for a partner for this, IDW made a lot of sense. Chris Ryall and Greg Goldstein were really supportive of the idea. There was an instant recognition of the need for something like this and so we were all working together to find the right deal that could work for everyone. And I think Ted Adams at IDW had already shown his support of creator-owned books. That’s what the company started with, and they still are working with folks like Ashley Wood and Steve Niles. It’s a good fit. And, it’s really awesome to have creator-owned books by new talent that are in the front of the Previews catalog. Maximizing exposure is important to new creators–getting their names and their work out there and seen by as many people as possible.

St. Louis based Lion Forge Comics has been around for a couple of years with a lot of ambitious plans, some well known licenses and a line of here-to-fore digital comics. But recently they announced they are getting into print, with IDW picking up their Air Wolf and Knight Rider comics. They’ll also publish a print version of a comic inspired by MMA fighter Quentin “Rampage”Jackson called Rampage Jackson: Street Soldier. That should be PLENTY wacky. More Lion Forge titles are impending from IDW, possibly including such classic licensed fear as Miami Vice, and Punky Bewster.

Lion Forge also announced a deal with AG Properties, the likening division of American Greetings, to put out three kids comics as part of the Roar kids line: Care Bears, Madballs and the Disney XD animated series, Packages from Planet X.
 
“Our library has grown immensely in the past year bringing a unique selection of comic books to readers of all ages,” said David Steward II, CEO, Lion Forge. “Bringing the lovable characters from Care Bears with the humor and action from Madballs and Packages from Planet X to our collection further diversifies our offerings while teaching and interacting with our younger fans in new, creative ways.”
 
Lion Forge will have a booth (#1903) and a panel with Jackson, writers Joelle Sellner, David Gorden and Brandon Easton, and Yaya Han and wrestler Chavo Guerrero. IN other words, just a typical panel at San Diego.

Lion Forge – Saturday (July 26th) 11:00 AM – Noon Room 29A

Lion Forge Comics Presents: Knight Rider vs. Airwolf, Rampage Jackson and debuts new projects with Yaya Han and Chavo Guerrero, Jr.

Panel Description
Lion Forge returns to SDCC! Senior Editor Shannon Eric Denton (Lion Forge) is joined by the next generation of creators; Joelle Sellner, David Gorden, and Eisner Nominee Brandon Easton to discuss their projects – Airwolf vs Knight Rider! Andre “The Giant” original creations Quinton “Rampage” Jackson: Street Soldier, and more!!! With Special Guests; Hero of Cosplay’s Yaya Han, MMA Champion Rampage Quinton “Rampage” Jackson and WWE & Impact Wrestling Champion Chavo Guerrero, you never know what surprises will be in store when you enter The Lion Forge so be sure to stop by!! #LionForge Moderated by Miami Vice writer Jonathan London 

Monkeybrian co-publisher Alison Baker has been one of the smart people in and around comics for a while, and now IDW has done something smart themselves by hiring her as their Director of Operations. (Greg Goldstein remains Chief Operating Officer.) Baker’s background in media and operations gives her the kind of wide ranging experience that The Beat, personally, likes to see come into comics. Congrats to Allison!

IDW Publishing is very pleased to announce that Allison Baker will be joining the publisher as Director of Operations. Allison’s primary role will be coordinating and expediting the operation of IDW Publishing’s ever-increasing production schedule, working directly with the Editorial and Production departments, as well as the newly formed IDW Games division.

Allison is the co-publisher and co-founder of Monkeybrain, Inc., originally founded as a traditional print independent book publisher specializing in science fiction & fantasy and nonfiction genre studies. In 2012, Monkeybrain launched a new creator-owned digital comics line, Monkeybrain Comics, which has garnered several Eisner Award nominations, including an Eisner Award win for Best Digital Series in 2013.

“I’ve been impressed with Allison’s skill set since we started working with her, publishing the Monkeybrain titles,” said Ted Adams, IDW CEO and Publisher. “When this position opened up, she was the first person I thought of, and I’m excited she was able to accept it. We’re all looking forward to what she can bring to the table at IDW.”

“I am beyond thrilled to be joining the IDW team,” said Allison. “IDW publishes so many fantastic comics for so many different kinds of readers, and really strives to discover new ways to deliver them to audiences. A diverse comics field is a healthy one, and I’m delighted to be a part of that in any way I can.”

The most important qualities in an ideal Director of Operations are flexibility and a wide range of expertise. Allison’s experience in both the publishing and entertainment industry certainly fit the bill. She held the position of Director of Operations for Robert Rodriguez’s Troublemaker Studios from 2002 to 2005, and for the last eight years served as Director of Production at Joe Slade White and Co., an award-winning political media consultancy firm that produces radio and television spots for political campaigns, initiatives, and corporations on city, state, and national levels. Most recently, Allison has become well known for writing the column “Allison Types” for Comic Book Resources.

ViaEXCLUSIVE: Monkeybrain’s Allison Baker Joins IDW as Director of Operations – Comic Book Resources

Craig Yoe’s Yoe Books imprint at IDW has been a repository of some delightful cartooning, like Dick Briefer’s Frankenstein and Christmas Comics and the like. But he’s gone gory on us with The Worst of Eerie Publications. It’s a follow up to 2010′s The Weird World of Eerie Publications, also written by Mike HOwlett and published by Feral House. These are pre-code horror stories by Dick Ayers, Chic Stone, Domingo Mandrafina, the Iger Shop, and many other unsung masters. The PR suggests “Absolutely not to be missed for those who enjoy the grisly and the lurid.” and that sounds about right.

Eerie Publications was a 70s alternative to the better known Warren and presented reprints of pre-Code horror as well as new terror tales. Not for the squeamish or those blessed with a surfeit of good taste.

Humble Bundle is at it again, this time with a collection of Doctor Who comics, including seven books of collected comics, and a game. You can pay what you wish and a portion of the price will go to Doctors without Borders. Once again, all good. The first comics Humble Bundle, featuring Image Comics, did very well, as we reported yesterday. Details below:

Humble Bundle, the pay-what-you-want plus charity digital platform, and award-winning publisher IDW Publishing have teamed up to launch the Humble Doctor Who Comics Bundle today. Customers can pay what they want for up to 14 digital collections of Doctor Who comic books along with puzzle-RPG adventure Doctor Who: Legacy with unlocked bonus content for Android.

https://www.humblebundle.com/books

Customers can name their price for Doctor Who: Series 1, a three-volume series following the 10th Doctor (David Tennant), and Doctor Who: Series 2, a four-volume series featuring the 11th Doctor (Matt Smith). Each series contains 16 issues of Doctor Who comics. Also included is the critically praised mobile game, Doctor Who: Legacy for Android, which comes with 10 pre-unlocked Doctor characters. 

If customers pay more than the average price, they will also receive four more volumes from Doctor Who: Series 3 featuring the 11th Doctor (Matt Smith). Paying $15 or more will unlock the three-volume seriesDoctor Who: Prisoners of Time, which features all 11 of the Doctors’  incarnations, as well as the 50th anniversary celebration issue and 2014 Hugo Award-nominee, The Girl Who Loved Doctor Who.

Customers’ purchase dollars can be divided between IDW Publishing and two vital charities: Doctors Without Borders, which delivers independent emergency medical care and relief to more than 70 countries around the world, and the Comic Book Legal Defense Fund, a non-profit organization dedicated to the protection of the First Amendment rights of the comics art form and its community. Since Humble Bundle’s launch in 2010, $37 million has been raised for more than 20 different charities and non-profit organizations.

The Humble Doctor Who Comics Bundle ends on Tuesday, May 28, 2014 at 11:00 a.m. PDT.

This May, IDW will continue to develop their range of all-ages titles with The Littlest Pet Shop, from the twin creative teams of Georgia Ball and Nico Pena; and Matt Anderson and Antonio Campo. Based on the Hasbro range-turned cartoon series, the series is about Blythe Baxter, a young girl who can talk and understand the various animals who live in the pet shop where she lives.

I’ve always got an interest in finding out more about all-ages comics, wherever they may appear, and Ball has written a number of really strong comics within that range. Reaching out to her, she spoke candidly about her approach to the series, writing for a younger audience – and her thoughts on the abundance of female writers currently working on all-ages comics. This looks like it’ll be a really entertaining book, and I’m grateful that she took the time out to answer some of my questions.

Steve: What exactly is the Littlest Pet Shop? What’s the core concept of the series, as you’re approaching it?

Georgia: Through mysterious means that may involve a dumbwaiter, heroine Blythe Baxter can understand the animals in the pet shop below her home. From there, Littlest Pet Shop alternates between stories about a young girl with a single dad trying to survive middle school and her group of quirky friends who spend every day together and need to find ways to entertain themselves without driving each other crazy.

The twist is those friends are also pets in a day camp.

Steve: The series centres around Blythe Baxter, who has the power to talk to animals. What’s she like as a character? What’s her personality like, what’re her motivations, and so on?

Georgia: Blythe is grounded, upbeat, helpful and a self-starter. She’s also prone to anxiety and self-doubt. A lot is made out of her interest in fashion, but at the core of that interest is her unstoppable creative energy. She needs to design and she will find a way to do it, something many girls who drew fanart in their notebooks while growing up can get behind. Although her huge wardrobe and love for all things sparkly identifies her as a “girly-girl,” Hasbro hasn’t objected to my giving her some additional geeky interests, like trading card games and the X-Men.

Steve: Who’ve been your favourite of the animals to write about? Are there any you’ve been surprised to find yourself really latching onto?

Georgia: Vinnie is an easy character to turn into a punchline. He’s not a deep thinker and that offers a lot of opportunities for one-off jokes. Zoe’s issue was fun to write because she can be so self-absorbed. I love writing for the Biskit twins too, I’ve had plenty of catty things said to me over the years and the twins give me an outlet to take that to another level.

Steve: Did you do much research into the series once you came on? Were you already aware of the TV show and the other media adaptations before you started writing?

Georgia: When I’m given the chance to pitch for a new property I spend weeks learning everything I can about it. If there’s a show I watch every episode, if there’s a video game I buy it and play. I knew Littlest Pet Shop was a cartoon show so I bought the first season on Amazon and spent my lunches catching up. I went to the Internet and got a sense of the size of the fandom and what they talk about. I avoided the previous television incarnation because it wasn’t relevant. It would be great to say I was already familiar with the concept and a huge fan of the series, but working in licensing often introduces me to properties I’m unfamiliar with because the creative process has to start so early, the property may not be very far along yet. When I was given the chance to pitch for The Croods I had to come up with stories about characters eight months before their movie was out.

Steve What’re your goals for the series? What do you hope people get out of it?

Georgia: Licensed properties like Strawberry Shortcake and My Little Pony end with a neatly-declared moral lesson and I did that for three years. Hasbro has given me the opportunity on this series to be much more ambiguous. The Seinfeld philosophy was “No hugging, no learning” because it’s funnier without sentiment. Above all else, I want this series to provide comedy and entertainment.

Steve: Have you found that as you’ve written more and more, you’ve started to refine the comics for a more general audience? Do you tailor the comics so younger readers find them easier to read?

Georgia: I was brand-new to licensed comics when I wrote for Strawberry Shortcake; I dumbed-down the language in the first two issues and I’ve regretted it ever since. I don’t want to talk down to the reader, I want to give younger readers the chance to age and grow with their comics, getting more and more out of them the longer they own them. That’s how it was for me reading Archie and my mother’s old copies of Sugar and Spike, and I think it’s the kind of approach that creates long-term fans.

 Ball has previously worked on a number of other IDW titles, including My Little Pony issue with Amy Mebberson

Steve: Looking back through your career thus far, I believe you’ve written entirely all-ages comics, from Scooby Doo to My Little Pony. Did you jump into comics with that specific goal in mind – that you’d try and focus on writing comics that everybody can read?

Georgia: That would imply that I had other choices. If you look at how few women are working in traditionally published comics, especially as writers, you’ll see many of them in the all-ages genre because it’s a newly invigorated market and that’s where the opportunities are.

I recently watched a podcast of a group of male writers telling their story about how they got in.  All of them thought they began writing comics in completely different ways, but their stories were all some variation of: “I was a fan and I hung around an editor until I convinced them that my love for superhero comics was strong enough to merit sending him a pitch.” None of them broke in because they were part of an under-represented group and the editor needed someone who could speak to that group.

I was brought in to write a comic for young girls because I was writing a funny webcomic with a woman in it. I jumped at any chance to prove I had more range than that and I’ve been fortunate to have established people in the industry recommend my work since then. I read a lot of horror and crime comics and would gladly pitch for those types of stories given the chance.

That said, I am a strong supporter of all-ages comics because I want to see the industry offer something for everyone and still be around thirty years from now.

Steve: You aren’t the only writer on the series – Matt Anderson will be writing back-up shorts for each issue. In fact, am I right in thinking it was Matt who suggested you for the project in the first place?  I know you’ve worked together in the past.

Georgia: Matt was my first editor in the industry. He invited me to work on Strawberry Shortcake and I took our project kick-off call from my maternity bed after giving birth to my daughter three years ago. But we eventually moved on to separate projects; our editor on Littlest Pet Shop, David Hedgecock, was in charge of the books we worked on for Ape Entertainment and he chose us individually.

David prefers to divide up all-ages comics into long and shorter stories to give more value for the purchase. David always liked that I was able to make him laugh while writing a comic as cautious as Strawberry Shortcake, and I’m very grateful to have someone like him in my corner.

Steve: Nico Pena and Antonio Campo will be drawing the series. How’ve you found working alongside them? What’s the collaborative process been like?

Georgia: I haven’t had much interaction with Antonio because he’s drawing for Matt’s stories, but I’ve had a high regard for his work since he did Scouts with my husband. This is my first project with Nico Pena and I’ve only seen final art for the first issue but I was blown away by it. Nico has added an element of modernism and geometry to the original show designs that makes the comic version look like something I really haven’t seen before.

Sometimes we’ve had language mix-ups with humorous results. His first email after he read issue #1 was titled “I have doubts,” which nearly gave me a heart attack. He meant “I have questions,” not realizing “doubts” has much more serious implications in English. When Nico isn’t sure about something, he emails and we work it out.

Art by Sara Richard

Steve: Are you hoping to be on the series for the long-term? How far ahead are you planning your story?

Georgia: We’ve been given direction to encapsulate the stories, but while I have one lead that begins and ends in every issue, I did plan out when I was going to have Blythe and the pets go through the plot together, when I was going to give them and A/B storyline, and when I was going to start giving individual pets a starring role. The characters don’t have amnesia about what they’ve done on the show or in previous comics.

Both Matt and I would love to see the series get extended but that will depend on the sales numbers. Given the success of My Little Pony, we hope retailers will take a chance on it and digital readers will subscribe.

Steve: What else are you working on at the moment? Where can people find you online?

Georgia: I have three issues of Scooby Doo, Where Are You? coming out this year and I’m pitching for other things like always.  I’m also giving a lot of time to putting a package together for the creator-owned series I’ve developed with husband Scott, Follipops, an all-ages adventure story about a con-artist and her living-sock-puppet assistant Dudu who want to fit in with a new town but end up working for the bad guy.

Scott was the artist on our webcomic Scooter and Ferret and we’re ready to do another project together. Our official website is here, but the best way to see concept art for Follipops and hear about other issues coming out is to follow me at my tumblr blog: askmaridee.tumblr.com.

-

Many thanks to Georgia for her time. The Littlest Pet Shop starts this May. You can also find her, alongside the links above, over on Twitter!

There was a wee burst of comics news at WonderCon, and here’s a quick round-up.

¶ Two more Artists Editions from IDW including John Buscema’s Silver Surfer, reprinting Silver Surfer #5 and #6 and more. AND Walter Simonson’s Manhunter and Other Stories Artist’s Edition reprinting the whole story by Simonson and Archie Goodwin.

¶ A new mini-series set in the Judge Dredd universe, Judge Dredd: Anderson, Psi Division written by Matt Smith and drawn by Carl Critchlow. The story picks up 24 years following Judge Dredd; Year One.

¶ Busy IDW also signed Locke and Key artist Gabriel Rodriguez to an exclusive. It is their first exclusive.

¶ Dark Horse announced Dark Ages by Dan Abnett with art by I.N.J. Culbard. How does Culbard turn out SO MUCH WORK? Maybe I’m just imagining it. Anyway the pages look great. Intro interview here. The elevator pitch is “Kingdom of Heaven meets Starship Troopers” as medieval mercenaries take on alien monsters who appear to be hellspawn.

¶ IDW also announced a five-issue miniseries called The X-Files: Year Zero for this July, continuing in the tradition of its X-Files Season 10. In it Agent Mulder investigates a previous mystery from the 40s and we meet agents Bing Ellinson and Millie Ohio, two previous investigators who one presumes looked anxious as they faced supernatural threats and vaguely defined sexual tension. Karl Kesel writes, Vic Malhotra (The X-Files: Conspiracy: The Crow) draws the 40s segments and Greg Scott (The X-Files: Season 10) draws the contemporary scenes. Carlos Valenzuela does the regular covers.


In the 1940s, a shadowy informant known as “Mr. Xero” directed the FBI to a number of paranormal cases that would soon be classified as “X-Files,” which were reserved for the improbable and unexplainable. When faced with an eerily similar “Mr. Zero” in the present, Agent Mulder resolves to uncover the truth about who this mystery person is and their connection to these cases.

True Story, Swear to God’s Tom Beland is back with a new book, Chicacabra, to debut from IDW this June. It’s billed as a humourous series of graphic novels, about a Latina girl who turns into a monster — and yes the title is a play on the legendary creature the Chupacabra.

In Chicacabra, you would think being a young woman in high school would come with more than enough drama, but for Isabel Sanchez that is a mere drop in the bucket of her life. On the outside, Isabel looks and acts like your average Puerto Rican girl but after a family tragedy and then a mysterious incident she finds herself with a monster capable of great brutality living inside her. But is it her friend or foe?
 
Isabel will have to learn to life with a killing machine inside her and navigate high school in this first in a series of planned Chicacabra graphic novels. And heads will roll, to say the least!
 
“I think people will relate to Isabel. I think we all have a chupacabra in us in some way. There’s fear, doubt, many things that you hold deep inside of yourself,” said Tom Beland, “This is about two souls working together in a relationship that could be damaging as well as healing. I love making it. To a degree it was as emotional as making TSSTG.”

Next month sees a launch which The Beat has been following on and off for the last few weeks. A new Transformers miniseries will be launching at IDW in April, chronicling the introduction of Windblade. A female Transformer – causing raised eyebrows from fans who think Transformers are genderless despite being obvious blatant big male robots – Windblade will be entering the IDW Universe in the immediate aftermath of the crossover event storyline Dark Cybertron.

Written by Mairghread Scott and illustrated by Sarah Stone, the miniseries has already garnered a lot of attention, as Windblade was chosen to be created as part of a fan vote, and this miniseries will be the first Transformers comic with a female writer and artist onboard. But, y’know, beyond that – there’s a story here, and a character. So! In order to find out more about who Windblade actually is, I spoke to both Mairghread and Sarah about their plans for the characters, and the miniseries as a whole. Read on!

Steve: How did you first get involved with Transformers? Were you fans before you started working on the comics?

Mairghread: I watched Beast Wars as a child but I really fell away from the fandom until the Bay films and being hired on Transformers Prime. In a way it’s been a real blessing because I still have my childhood love of the Beast Wars transformers but I get to explore all the rest of the Transformers lore (the main lore, really) as an adult when I can appreciate it and the work it took to keep things rolling this far.

Sarah: I was! I grew up with Beast Wars originally, but sort of rediscovered my love for Transformers with Transformers Prime and that’s when I really got lost in it. From there I realized I needed more and learned about what IDW was doing with RiD and MTMTE, and I’ve been really hooked.

Steve: What do you think it is about the franchise which has had such enduring appeal?

Mairghread: First, it’s just AWESOME! Even if you don’t like Transformers (and you should) you have to admit that you can’t beat the brand for fantastic and mind-blowing action. But, underneath that, is a really core appeal that a lot of people miss. Transformers themselves are surprisingly human.

In fact, I think because they’re aliens we often write them as more human (emotive, social, flawed, a little irrational at times) than many characters that are actually human. That combination is super-rare and it’s something I just can’t get enough of.

Steve: This miniseries comes about following the end of the Dark Cybertron crossover event, which saw things get very bad for all the Transformers. What kind of world is Windblade entering into as your story begins?

Mairghread: It’s a world that mirrors our own in a lot of ways.  The war is over, but there are huge problems that everyone knows about but no one has been able to solve yet.  The leadership is corrupt, but not freakishly evil.  People are focused on making it day-to-day and the milestones characters set for themselves are getting smaller all the time. No one’s really dreaming the big dream anymore and that’s something Windblade is going to change – or try to, at least.

Steve: What do you think defines Windblade as a character? When you sat down with the character, what did you want to emphasize about her personality?

Sarah: What stands out for Windblade to me is her determination despite being completely overwhelmed. She’s thrust into this situation and conflict that most Cybertronians have had centuries to get adjusted to, but she has to adapt right now, and you can tell she’s behind the curve and it’s taking its toll. I wanted her to show signs of this weathering but she’s still trying her hardest anyway. She’s not perfect – she gets shaken up and lost, and I think we can all relate to that a little bit.

Mairghread: Our book starts a bit after the end of Dark Cybertron, so no one is in active triage-mode anymore as they would be during a huge life-or-death struggle like that was. Plus Windblade is an optimist. She really believes that she can help make Cybertron better, that everyone can help Cybertron be better.  Whether or not she’s right, that’s a whole different story.

Steve: How have you both found the collaborative process?

Mairghread: Fantastic. Sarah never thinks of what can’t be done, only how we can accomplish it. That kind of mindset is what’s given Transformers Windblade such a unique look. It is definitely going to be a comic that surprises people and is a great introduction to even those who’ve never been to Cybertron before… plus Issue 1 and 2 are still available for pre-order. So if you’ve ever thought about dipping your toe in the TF pool – now is definitely the time!

Sarah: I love working with Mairghread because she likes focusing on similar things that I do, and she’s really enabled and encouraged me to really push things where I might have been a bit to timid to otherwise. We have a lot of fun going through scripts and thumbnails to really push body language and interactions. Really I’m just trying to do justice to her script and these characters, and hope that in some way I succeed on the page.

Steve: One of the details I noticed in the preview pages of issue #1 is that you’re using her jet flames to convey her movement and transformations. How do you approach her body language and movements? She’s a giant robot sure, but she seems pretty deft and light-footed.

Sarah: Mairghread had to really extrapolate a lot off of a pre-existing design for a character that we didn’t know much about. What kind of a bot has this kind of makeup, or has such an elaborate sword? She guided me a lot when we first started, and we wanted Windblade to be graceful and kind of ceremonial. Since wind is kind of her element and she functions as sort of a diplomat, it seemed fitting.

I wanted her to feel light, especially compared to Chromia, her bodyguard, who is the exact opposite. I love them because they’re such great foils for each other – where Windblade is tactful and graceful, Chromia is both tactless and graceless. Windblade can sit down politely with her legs together, but Chromia sits like a total guy. They both serve to point out how different they are from one another, and it’s really fun.

Steve: Is it difficult to draw personality onto a robotic character? That question may be a little racist against robots, sorry

Sarah: It might be, but I live for it. It’s arguably one of my favorite parts of drawing the bots. I really love taking atypical features and giving them expression, just like we read expressions on animals without the same cues that we get from people. I love thinking about how personality can be expressed through their different features.

How does this guy hold his wings, can his helmet be used as sort of a brooding brow, does this part move when they’re scared? Stuff like that makes my job really fun.

Steve: One thing that comes across quickly in the preview is that she has quite a wry sense of humour about her. What’s her personality like? Do you want her to bring a sense of freshness with her, a lightness of tone?

Mairghread: She’s definitely in a younger mindset than most transformers. But more than anything she’s a three-dimensional character. She takes her job very seriously but that doesn’t mean she takes herself seriously (although she probably should, if I’m looking at her from a ‘mom’ perspective).

I wanted her to like Cybertron and like life; there’s enough dourness in the real world. Transformers Windblade is still a dramatic read, and we do get a little dark, but I’ve worked hard to make sure it never loses the optimism and hope that Windblade as a character has.

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Many thanks to Mairghread and Sarah for their time! The first issues of the series are still available for pre-order – today is the last day they will be – and issue #1 is due in stores this April. You can find Sarah at various places around the internet - on her blog, her DeviantArt, and Twitter. Mairghread is on twitter here, and you can find her Tumblr here

TRIBES the Dog Years is a SF graphic novel about a world where no one lives past the age of 21, that originally came out a few years ago. Written by Mike Geszel and Peter Spinetta, it featured gobsmacking art by Spanish artist Inaki Miranda, as seen on the book’s FB page. Paul Pope called it “Mad Max by way of Disney. Inaki draws with a widescreen vision that jumps off the page.”

Since Miranda has gotten better known since then do to all his work for Vertigo— including Coffin Hill—a new hardcover edition of the book is being released this May, Tribe: The Dog Years Deluxe Edition, for those who might have missed it the first time. The new edition will includes more concept designs, 20+ pages of original pencils, a newly designed cover and backing – all the unusual but effective horizontal format of the original. The edition includes an intro by screenwriter Alex Tse (Watchmen.)

In the near future, a nano-virus accidentally shortens the human lifespan to 21 years. Two hundred years later, tribes of kids survive amidst the junkyard ruins of the techno-industrial age. One day everything changes for Sundog of the Sky Shadows tribe.  Is there new hope for longer life?  Can the virus be cured with the help of a mysterious “Ancient” from a city under the sea?

Miranda is really one of the most underrated artists around — his world building is second to none, and Tribes is a fine example of that. The book is in Previews now.