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Ming the Merciless. Dale Arden. Hans Zarkov. Prince Barin.The Hawkmen, and of

course– Flash Gordon. You may remember him

his recent re-imagining on the Sci-Fi Channel TV series, the 1980 lm (for which Queen created the catchy theme not-so awesome ‘80s cartoon, Defenders of the Earth. enough, you may even have fond memories of his creator Alex Raymond as a newspaper strip. Either has outlasted many of his contemporaries, such as now with a respectful, but modern take from Ardden Entertainment, blast into the future once more. Ardden is the product of two men

from awesome song) or the Or if you’re old 1934 debut from way, Flash Gordon Buck Rogers, and looks set to boldly with diverse creative

experience. Writer Richard Emms created AP Comics in 2002, then left to become the Editor in Chief for another comic publisher, Markosia before opening two Limited Edition Comix stores in the UK and creating Ardden. His business partner (and writer of Ardden’s Flash series, with stylish art provided by Paul Green) Brendan Deneen made the transition from the respected William Morris Agency to lm producing, with Dimension, Miramax and the Weinstein Company, with a number of impressive credits to his name (Sin City, Feast, Rambo.) Now Emms shares his thoughts on the journey thus far, just in time for Flash’s 75 th anniversary.

You both come from the worlds of lm and publishing in various capacities. What made you decide to form your own publishing company, rather than to continue your successful careers working for others?

RICHARD: I’ve known Brendan since he was at Miramax, and over the past ve years, up until the point of setting up Ardden, we’ve worked on a few projects together; namely Brendan’s hit mini series Scatterbrain and a project for the Weinstein Co. called Fanboys.*

For me it was the fact that Brendan and I could control our own destiny. Sure it’s harder work than working for someone else but I’m a strong believer in what you put into something you get back out in the end and Flash has done exactly that and opened many a door for the future of Ardden.

My day job is retail and Ardden ts in nicely to what I do week to week, month to month

great to give my customers and loyal patrons an insight into the world of comic publishing - which I

have decided to take further. A secondary school in my home town has asked me to do workshops so that I can teach people the creative process of comics. Which I can’t wait to start.

What was the catalyst to go after Flash Gordon as your rst licence and what was the process in acquiring it?

RICHARD: The day I left my old job as EiC for Markosia I started to get itchy feet. Already I was missing comic book publishing so, being the type of guy who never says never, I sat down

and went through the list of things that I loved as a kid

remembered the 80’s lm vividly - and decided that Flash would be my main target to try and sign. The nice thing about the web is that with a bit of research you can nd anything. A day later, an email or two and I had already contacted the UK’s arm/agent of King Features and that’s how it all started.

Plus it’s

One of them was Flash Gordon. I

How did the two of you end up working together and was the name choice of Ardden a natural one after choosing to go after Flash Gordon?

RICHARD: Once again it was a natural progression. Working with Brendan was a brilliant creative process and we work so well as a team. When the proposals for

Flash were going back and forth I asked Brendan if he’d like to write the series. To me, Brendan is the best up and coming writer I’ve ever worked with. I knew he would do an amazing job on Flash and if Brendan had not have committed to do it, Flash might be still in the world of limbo, maybe to never see the light of day. The name Ardden comes

from richARD and DENeen - it’s also a tip of the hat to Dale heroine.

Flash has had many interpretations over the last 80 years and most modern audiences would be familiar with the character from the 1980 lm or the 2007 TV series. What did these two approaches do right, and wrong?

RICHARD: I think that you still cannot beat the 1930’s original black and white serials. What has come after has been good, but not great. The 1980 movie was really fun and still is a good movie by today’s standards. The 70’s cartoon had its elements of being fantastical but predictable and the new TV show just isn’t Raymond’s Flash Gordon. As a sci- show it’s ne but I wanted to see Ming in a luxurious palace surrounded by scantily clad women servants. We also had the short lived 90’s TV show - but I’ve never seen that, so I can’t really comment.

How did you decide upon what absolutely had to stay when re-examining Flash’s world, and what had to be updated?

RICHARD: For this I trusted Brendan to deliver something that was in-keeping to Alex Raymond’s multi-faceted worlds of Mongo as well as bringing it right up to date. His premise is second to none - and if Alex Raymond was alive today he would be proud of Brendan’s scripts. Paul’s art, too.

Can you explain what happened with the printing errors on your rst issue and how much of a setback that became?

RICHARD: We enlisted a printer in China to print our books for us. The samples they sent before we sent Flash off to print were great, and the quotes were great, but when I nally received the printed copies of the rst book at my ofce - I was shocked. The colours were out, the covers too dark and the whole thing looked like a mess. We prepaid for these books up front (thank God by credit card) and on emailing the production team at the printers they admitted that there had been a problem with the colours. By the time I had received my copies, the remaining 13,000 had landed in the USA. Straight away I told them they should not have sent them if there was a fault and the rest, shall we say, our lawyer is looking after.

the

worlds rst ever sci-

What else is Ardden working on, apart from Flash?

RICHARD: We’re in the process of signing another big license - just as important as Flash Gordon - and Brendan and I have been putting together a roster of creator- owned projects with writers such as Jim Krueger. We are very excited with what’s happened so far with our plans and we’ll continue as long as the retailers continue to give us feedback and support. But for the team at Ardden it’s one step at a time.

Was it nerve-racking, or exciting working with the legendary J.M DeMatteis** as your Editor In Chief? Or was it both?

J.M DeMatteis** as your Editor In Chief? Or was it both? RICHARD: Nothing nervy working with

RICHARD: Nothing nervy working with JM. He’s a gentleman and the most amazing guy you could ever want at the helm of the company. His insight and ability to add so much more into a comic series is second to none.

The Mercy Wars Trade Paper Back collecting the rst six issues of Ardden’s Flash Gordon series is available in April. The 75 th Anniversary Special is available now and features work from an impressive host of Flash fans, including Joe Casey, Denny O’Neill, Len Wein and Shawn McManus.

www.arrden-entertainment.com

*Fanboys is the long awaited comedy (coming soon to DVD) that follows a few friends in 1998 who steal an advance copy of Star Wars Episode 1: The Phantom Menace.

**DeMatteis is a diverse writer, primarily known for his gritty approach to Marvel’s Spider-Man, and injecting humour into DC’s Justice League, both in the 1980s and 90s.

Flash Gordon © 2009 King Features Syndicate, Inc.

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Also available, from BifBangPow! are 7 inch action fi gures of Flash Gordon, Prince Barin,
Also available, from BifBangPow! are 7 inch action fi gures of Flash Gordon, Prince Barin,

Also available, from BifBangPow! are 7 inch action gures of Flash Gordon, Prince Barin, Dale Arden and Klytus. All are inspired by the 1980 lm and are based on designs by superstar comic painter Alex Ross (DC’s Kingdom Come). The complete Series 2 will be available in 2009.

on designs by superstar comic painter Alex Ross (DC’s Kingdom Come). The complete Series 2 will
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And most characters even have interchangeable parts! Extra
Sequential gets the lowdown from Chris Beaumont, the man behind
the cubes.
What exactly is papercraft and why does it have such a cult
following?
Chris: Papercraft is the art of creating 3D models from paper. I
think it’s popular because it’s easily accessible, inexpensive and
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How do you decide which characters to transform?
Chris: I am just a fan of a lot of stuff.
What should those that download your designs know? ?
Chris: If you use a hobby knife and not scissors you can can
cut them out a lot faster. It’s not a race though so be e careful. careful.

Garnica.

IMAGE CREDITS: Barack Obama, Darth Vader, Spider-Man and Dr. Manhattan by Chris Beaumont. Hellboy by Glen Brogan. Lion-O

ellboy by Glen Brogan. Lion-O

Attribution-Noncommerci

DISCLAIMER: The material presented here is my original creation, any characters not created by myself are in no way ofc

myself are in no way ofc

by their owners, they are either trademarks or registered trademarks of their owners in the United States and/or other cou

d States and/or other cou

Cubeecraft papercraft template is released by Christopher Beaumont under a Creative Commons Attribution-Noncommerci

3.0 Unported License. Use of the template by a third party for prot or the sale of Cubeecraft papercraft models is strictly

percraft models is strictly

without express permission from Christopher Beaumont. If you alter, transform, or build upon this work, you may distribut

s work, you may distribut

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al purposes.
al purposes.

work only under the same or similar license to this one. You may not use this work for commercial purposes.

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13 by Adrian Sanchez by Adrian Sanchez ial nor endorsed ial nor endorsed ntries. The ntries.

by Adrian Sanchez

by Adrian Sanchez

ial nor endorsed

ial nor endorsed

ntries. The

ntries. The

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e the resulting

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ZebWells,like film-makerKevinSmithisafunny geek done good. Winning Wizard magazine’s Direct to Video competition for
ZebWells,like film-makerKevinSmithisafunny geek done good. Winning Wizard magazine’s Direct to Video competition for
ZebWells,like film-makerKevinSmithisafunny
geek done good. Winning Wizard magazine’s Direct
to Video competition for the second time, his amusing
acceptance speech got Marvel’s attention. His short
fi lms were hilarious send-ups of popular characters such
as Hulk and Supergirl. He continued his funny business
writing everyone’s favourite wall crawler in Spider-Man’s
Tangled Web. From there it was on to various series
penning the tales of the Heroes for Hire and New Warriors.
Tangled Web. From there it was on to various series penning the tales of the Heroes
Tangled Web. From there it was on to various series penning the tales of the Heroes

Most recently one of the writers of Amazing Spider-Man, post Peter Parker’s controversial divorce, Wells penned the headline grabbing issue #583 in which Spider-Man meets Barack Obama. Now Wells is stepping into darker territory with the release of Dark Reign: Elektra, a 5 issue mini-series focused on the deadly beauty. The sai wielding assassin is one of Frank Miller’s best creations and has had a hectic life including becoming Daredevil’s ame and a prisoner of the invading aliens known as Skrulls. During this time she was secretly replaced by a Skrull impostor, eventually leading to Marvel’s recent Secret Invasion mini-series. Now, the ninja is back, and she ain’t happy. However, Wells still is…

Do you still have an itch to make more short fi lms? Zeb: I do,
Do you still have an itch to make more short fi lms?
Zeb: I do, but I got ambitious on the last one and am still
paying it off four years later, so it might have to wait until
we’re both pulling in that sweet BatherCon* money.
Is Spider-Man the most relatable superhero in comics?
Zeb:
He
is
to
me,
probably.
That
is
until
my
new
character
“Zeb
Wells”
debuts
in
Elektra:
Dark
Reign
#3.
A
possible
love
connection
for
the
alluring
Ms.
Natchios?
She
could
do
a
lot
worse!
Were you surprised at all by the reaction of your Spidey/Obama
team-up?

Zeb: I actually thought it would be huge when Stephen Wacker** offered it to me, so no, not really. I do realize that a monkey could have written it and it would probably have gotten the same reaction though, so I do feel incredibly lucky I was offered a hand hold on Obama’s coat tails.

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What benefi ts does writing for Marvel have that surprised you the most? Zeb: Well,
What benefi ts does writing for Marvel
have that surprised you the most?
Zeb:
Well,
my
girlfriend’s
dad
thinks
it’s
pretty
cool,
so
it
really
greased
the
wheels
there.
That’s
probably
been
the
biggest
plus.
Spider-Man and Elektra seem like two
opposing characters on the surface.
Do they have any similarities?
Zeb: I can honestly say that
Spider-Man and Elektra have
NOTHING in common.
Even their genitals are
exact opposites.
How familiar were
you with the lives
(and deaths) of Elektra
before landing this gig?
Zeb:
I
was/am
a
HUGE fan of Frank Miller’s
Elektra
work.
Elektra: Assassin stands right
next to Watchmen and Dark Knight in my book.
Are
there
any
particular
scenes
in
the
series
that
you
can’t
wait
for
fans
to
see?
Zeb: Clay Mann, the artist, really nailed Elektra’s escape
from her captors in issue #1. I’ve looked at the last three
pages of the book 10 times today. I think fans will eat it up.
*BatherCon is a fi ctional (for now) convention concocted by Wells
at this thankful writer’s expense. However, if such a Con would take
place, Wells promises to be the headliner with his world class trapeze
act, complete with three Andalusian sloths and one very perplexed
‘volunteer.’ Right Zeb?
**Steve Wacker is the Spider-Man editor.
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Globe newspaper from 1986 to 2001 he wore

After picking up a few

books, publishing his first in 1998,

and environmental issues.

reporter for the Boston

next three books he

Larry Tye knows how to write. As a

as medicine, sports

non-fiction

With his

car workers, and electro-

many hats and covered areas such

Tye shifted his focus to

public relations.

entitled Satchel: The Life and Times of an American Legend is a 416

African American rail

Bernays, the father of modern

prestigious awards along the way,

baseball pitchers of all

broad topics as Jewish communities,

on Edward L.

the greatest American

African American

which centred

Superman. With the working title of Superman: A Biography

greatest

represented such

to

his skills

latest project,

of the

House. After that Tye lends

Paige, considered one

convulsive therapy. His

powerful inspiration, and

Satchel

todays post-modern world.

from Random

page biography on

lasting creation is a

is released in June

original superhero

Great Depression, and finally published in

Siegel and Joe Shuster’s

in

the street

time. It

effectively creating superheroes and comic

hero of all time, and the

child, on

man, and woman, and

will present why Jerry

Cleveland teens after the

and co. have gone on to become enduring pop

to the

the book

show just what he means

an instant hit,

the imagination of two

the Man of Steel was

Born from

Action Comics #1

books as icons we over the decades.

culture

you seem to have a wide array of subjects covered. Hav

suggests an inquisitiv

asking questions, then piecing

when the topic is as

irresis

the character. It also was a fas

the heroes

nearly the passion o

comics

an excuse to get back to the comics o

that connects

I admit

knee-jerk attraction to Superm

and how he touches

of mor

and concepts like t

fans have be

this superhero,

More to co

18

in 1938, know them today. Obviously, Clark Kent And Tye is investigating just why that
in 1938,
know them today.
Obviously, Clark Kent
And Tye is investigating just why that is.
inquisitive Looking at mind? your biography
Larry: I spent
20 years as
a reporter,
which either
insatiable nosiness, perhaps both. I love
into a story. It
is especially
satisfying,
and fun,
to tackle
What made you want
Superman as a subject?
Larry: It
my bio of
and
was partly
a love for the story
Satchel Paige,
to understand why
America embraces
last 100 years
and generated
no hero has lasted long
I imagine
you followed
an eye-opener for you?
the research must’ve been a fun process. Have
Larry: It is
not just an eye-opener but
answer
to your
rst question is NO, unfortunately.
stories
have
from fans
so far,
you seen
a theme
As you’ve collected
Larry: There
are several themes that
have emerged
so far from what
of
share not a
scienti fi c sampling
fans. First, all
in who he
is, the
profound interest
personal way. All
values he represents,
are drawn in
by Superman’s moral
certainty at a time
The less
it is to
see that
Superman is
or so
Way, the nicer
as sure as ever,
clear society is about values like truth and justice
Finally, I love
to hear
can
bonding around
how families
and are
to resonate
as
much with
young kids.
parents and grandparents as
more and
of
fan stories that are piling
up.
read more of the dozens
How can Superman of this project? fans be a part any fans who are willing.
How can Superman of this project? fans be a part any fans who are willing.
How can Superman
of this project?
fans be a part
any fans who are willing.
via email, the stories of
Larry: I would love to hear,
I want to know
of Steel on fi rst
and what
what drew them to the Man
encounter,
brings them back. I want to
all, Superman
this society
their personal
know how, if at
speaks to
and
values. I want to know
any great
fi rst time in
the comics or on TV, in
tales they have
of encountering Superman for the
fi lms or anywhere
Does the Superman
and continues to now.
else
he touched their
lives then
days when Jerry
story have
a religious
element? Does
he resonate today as
much as in the
more or less today,
and Joe brought
need Superman
the crises facing
him
to life? Do
we
given
Also great
if they
their emails
age, profession, and whether they are
America?
can put in
their
possibly including in
my book any
they send.
comfortable with my
stories
Please send any
stories to me at
superwrite@aol.com.
book, and have 18 months to fi nish it. Once I hand it in they’ll
have a release date
Do you
as yet?
had an
e you always
am just
Larry: I
starting
on the
settle on
a release
day.
TM & © DC Comics. All rights reserved.
e mind or an
together
the answers
Superman
tible as Superman.
cination, fueled by
it does. Over the
f Superman.
recently, or was this
f my youth.
So the
them all?
non-
but
lives
a
is al he their an, en a relativism.
American
telling
a in me.
who seems
me as I
learn
19
WWWW.LARRYTYE.COMWW.LARRYTYE.COM

Available now from AdHouse Books, And There You Are is an Original Graphic Novel from Ronnie del Carmen. The 64 page book stars Nina, who has appeared previously in del Carmen’s Paper Weight series, and follows her in an alluring combination of art and journals. The dream- like narrative and well crafted pages may very well appeal to fans of Craig Thompson’s Blankets and Carnet de Voyage. Del Carmen has had a diverse career in animation and illustration, working on series such as Batman: The Animated Series and more recently on Pixar’s WALL-E and their next feature, Up.

www.ronnidelcarmen.com

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You cau 4 that Of is c an W J w t
You
cau
4 that Of
is c
an
W
J
w
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You cau 4 that Of is c an W J w t 26

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like giant

ght in

ourse you do, and

. Published

sue series set

their future looks

d

hat’s

iped out by the Moon-colonies’ war-machines, known

ason: Basically,

he story of how a small

one last

Plus, it’s a

idea that

versions of The

robots pummeling each other, with puny humans the middle right? the massively talented the Dread
robots pummeling each
other, with puny humans
the middle
right?
the massively talented
the Dread Force know
creators behind Dawn of
by Devil’s
Due Publishing, and produced by Jaran
Studios, Dread Force is a new
on a future earth
are in hiding
by these
ravaged
destructive mechs. Humans
bleak. Jason Anderson from
Jaran Studios gives
the lowdown.
us
Dread Force?
the central
concept behind Dawn of the
it’s 200 years
human population
the future, and
on Earth has
been virtually
in
the
Dread Force. This
as the
mini-series tells
group
of human
survivors manages
to somehow
defy the odds and take
at defeating
their attackers and
saving humanity.
shot
great excuse
to draw
killer robots. The whole concept was built around the
some
we had
to create the
ever designed. Almost like giant robotic
meanest, baddest mechs
Mechs that would really blow people away.
Pitt* or something.
Almost like giant robotic meanest, baddest mechs Mechs that would really blow people away. Pitt* or
Almost like giant robotic meanest, baddest mechs Mechs that would really blow people away. Pitt* or
Almost like giant robotic meanest, baddest mechs Mechs that would really blow people away. Pitt* or
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There’s an impressive roster of artists behind the series. Did they all know each other
There’s an impressive roster of artists behind the series. Did they all know each other
There’s an impressive roster of artists behind the series. Did they all know each other
There’s an impressive roster of artists behind the series. Did they all know each other
There’s
an
impressive
roster of artists
behind the series.
Did they all know
each other
previously?

Jason:

James Raiz and Rob Armstrong worked together on Transformers Armada back when the Dreamwave crew was still together. They’re probably more responsible for the whole Dreamwave/TF look than anybody, actually. It was the rst time working together for everyone else, but as you can see, they’ve meshed together well. Gerardo Sandoval is one of the best pencillers I’ve

ever seen, Danimation, Sayda and Simon Bork are amazing colorists, and Kurt is a “writer’s writer” in every sense of the word. We just tried to pull the most talented creators we could nd together, and we’ve been blessed in getting some truly great ones to work on Dawn of the Dread Force.

How is the series setting itself apart from Transformers?

Jason: I’m starting to cringe a little every time someone asks me that, no offense, because even though this project has taken 7 years to

to cringe a little every time someone asks me that, no offense, because even though this
to cringe a little every time someone asks me that, no offense, because even though this
to cringe a little every time someone asks me that, no offense, because even though this
to cringe a little every time someone asks me that, no offense, because even though this

30

come to fruition, when people see giant robots, they always think Transformers. The main reason
come to fruition, when people see giant robots, they always think Transformers. The main
reason James and Rob were hired for the job was because they were the cream of the
crop as far as drawing giant robots, so they were must-haves, but story-wise, the books
are quite different. DOTDF has a lot more human and science fi ction elements involved.
It’s darker and scarier than TF, almost like The Dark Knight movie in a way, horri fi c. Other
than that, we also tried to improve on the giant robot genre, take it to the next level, and
I think we’ve succeeded in that, so hopefully readers will be able to appreciate a different
kind of robot book.
*The Pitt, created by Dale Keown was a hulking monster originally published by Image Comics in the early 90s.
www.dreadforce.com
Dread Force TM and © 2009 Jaran Studios. All rights reserved.
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The aim of Ariel Press’ new series, Harker is to create a compelling detective TV series on paper. The English duo of writer Roger Gibson and artist Vince Danks have certainly achieved that. Stripping away all the CSI-like pretension and replacing it with a couple of likely lads in the form of Detectives Harker and Critchley, the new series is engrossing. Plus, black humour, detailed visuals and the odd bit of mad violence helps.

Harker and Critchley have very distinct voices. Are they based on yourself, or people around you?

Roger: Yes, Harker and Critchley are myself and Vince, for the most part - seems a little unfair in icting us both on the comic reading public, so I can only apologise. Friends would de nitely recognise Harker as a slightly more monstrous version of me, and would recognise Critchley as a slightly more shallow version of Vince, which is kind of accentuated by them looking like us too, I suppose. Harker is actually about ten years older than me with more hair, and Critchley about ten years younger than Vince and with less hair, so they’re not carbon copies - but if Vince and I were detectives, I don’t think we’d be a great deal different to Harker and Critchley. I’m a little bit more approachable than Harker, and Vince is de nitely nowhere near as vain as Critchley, but we both have our moments.

Most of their more peculiar personality traits come from me, which is a little worrying:

Harker is the side of me that’s impatient, a little shy, grumpy, shabby and scruffy, slightly odd, easily

distracted by shiny things, outrageously egotistical, intensely passionate

traits, with a couple of good ones thrown in for good measure, as we didn’t want him to be too much of

a monster.

so he has most of my bad

Critchley, on the other hand, is the side of me that’s outgoing, irtatious, vain, shallow, geeky, a dreamer - with that little bit of Vince in him as well here and there, in his mannerisms, his friendliness and his general ease around people. Which makes the series rather autobiographical, I suppose - certainly in the relationship between the two detectives - which is something I hadn’t really thought about before. I’ll treat it as therapy or something How would you best describe what the series is all about?

Roger: Harker is fundamentally a mainstream telly detective show done as a comic. Our aim, the thing we’ve been trying to achieve for years (and not quite hitting the mark until now), is to produce the kind of comic that would work as a drama on telly on a Saturday evening - not a fantasy series like Doctor Who or Merlin, but a straight forward, no nonsense Saturday night detective series, as a comic. Not because we want Harker on the telly (though of course it would be nice), but just because we think comics should cater to the mass market in the same way as TV does. We want to capture that audience, we want our comic to be read by everyone, not just comic fans. We’re as mainstream as you can get. We’re ultra-mainstream. If you could inject Harker directly into your bloodstream, you could give up telly for life, it’s all going to be in there. Think of the time you’d save.

Harker is also a joyful celebration of the detective genre - as the series progresses, you’re going to see us playing around with all of the archetypes and icons of such stories. Even just in issue one

you’ve got the buddy cops, the classic car, the grim autopsy scenes, the banter - and we’ll be pushing further with all that iconography as we go along, playing with it, sometimes breaking it spitefully, biting the hand that feeds us. Oh! I’ve just thought of a good way to put it: Harker is what would be the result

if the TV shows Morse, Columbo and Waking The Dead all had greedy monkey sex together, with

Starsky and Hutch as the stepdads and Arthur Conan Doyle and Agatha Christie as the grandparents. There we go.

It seems like Harker has touches of cop shows, thrillers and possibly the supernatural. Was it hard to work those in uences into a coherent narrative?

shows, thrillers and possibly the supernatural. Was it hard to work those in fl uences into
shows, thrillers and possibly the supernatural. Was it hard to work those in fl uences into
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Roger: Not really, as Vince and I are both huge fans of all those things.
Roger: Not really, as Vince and I are both huge fans of all those things.
Roger: Not really, as Vince and I are both huge fans of all those things.
Roger: Not really, as Vince and I are both huge fans of all those things.
Roger: Not really, as Vince and I are both huge fans of all those things.
Roger: Not really, as Vince and I are both huge fans of all those things.
Roger: Not really, as Vince and I are both huge fans of all those things.

Roger: Not really, as Vince and I are both huge fans of all those things. Vince has DVD box sets of every TV detective show ever. His passion and greed for them knows no bounds. He even has the diabolical Murder She Wrote, I’m sure, so he’s got it especially bad. I once had a sordid, sleazy little summer affair with Diagnosis Murder,

but I regret it now, and still feel a little dirty. Harker isn’t a supernatural series in the slightest, by the way, though I know it looks like it could be. It’s a detective series, rst and foremost, very much rooted in the real world. We even use real locations. We’re working on issue ve of the rst six issue story at the moment, and I now know the Russell Square area so well that we’re including

a map of the locations with a little Harker

car to cut out and drive around it in the rst

collected edition. We could do local tours, make a fortune: “Roll up! Roll up! Come and see where the fat guy was disembowelled!”

How did you end up working with Vince?

Roger: He got me drunk at the 2008 Bristol Comic Convention and suggested

it. I’m honestly not kidding. Also, I share

a house with him (though not in the

biblical sense, you understand), so if I’d have refused, he’d have put my rent up.

We’ve been best friends for twenty years, and we’ve worked together loosely before, particularly in
We’ve been best friends for twenty years,
and we’ve worked together loosely before,
particularly in the Raven comics anthology
we tried and failed with a few years back,
but this is the fi rst time we’ve properly
collaborated on the same strip. But brie fl y:
in the last issue of Raven, four or fi ve years
ago, I produced a solo comic strip featuring
Inspector Griffi n (as he was at the time)

and his assistant Critchley. Vince and I were getting mildly tipsy at the Bristol Con, after spending all day ogging the nale

of Vinnie’s Sapphire series, in which he’d

publicly retired from producing comics in a grand, Alan Moore-style ourish. I asked him in the bar that evening if he was really

serious, and he replied that the only thing he’d consider doing would be a detective
serious, and he replied that the only thing he’d consider doing would be a detective
serious, and he replied that the only thing he’d consider doing would be a detective
serious, and he replied that the only thing he’d consider doing would be a detective
serious, and he replied that the only thing he’d consider doing would be a detective
serious, and he replied that the only thing he’d consider doing would be a detective
serious, and he replied that the only thing he’d consider doing would be a detective

serious, and he replied that the only thing he’d consider doing would be a detective series

- and speci cally the Grifn series. I said he was welcome to use the character, since I’d abandoned it, but he said he’d never work alone again, and then bought me another pint. Obviously, I agreed to collaborate on the spot. Cheers! *hic!* Grif n changed to Harker later on, and the current series has virtually nothing in common with the strip that

I originally did, but that’s where it started.

Were you inspired by the British Invasion* into theAmericancomicsmarketasayoungwriter?

Roger: Not really - mostly I was just envious. They were getting into all the good parties, and I was far more hip than they were, with much better hair. At that time I was reasonably active in fandom - pretty much every comic fan friend I had knew someone else who was a comics professional, and meeting Vince put me even closer to that crowd, but never actually in it, though I de nitely craved it. Obviously I eagerly devoured anything by Alan Moore, Grant Morrison, Bryan Talbot, Neil Gaiman etc, but equally I was reading P. Craig Russell, Don McGregor, Steve Gerber, Jack Kirby, so I just liked good comics, y’know? To be honest, I think the lifestyle of some of those in the British Invasion back in the 80’s would have killed me. I only mainline caffeine.

What have you learnt from your previous experience with writing comics that you’re now applying
What
have
you
learnt
from your
previous experience with writing comics
that
you’re
now
applying
to Harker?

Roger: Always write what you know, rst and foremost. If you don’t know it, research it, immerse yourself in it. Read all the time, and write all the time. Only work with artists capable of drawing an issue a month, or nothing will ever happen, and you’ll die alone and penniless. Do as little work as possible, to allow time for fannying about. Be hungry for it. Smile a lot, don’t scowl.

Do as little work as possible, to allow time for fannying about. Be hungry for it.

Is it a vastly different beast to write novels rather than comics?

Roger: The process is similar, but without the artist collaborating, you’re out there on your own with your pants around your ankles. Vince is brilliant in Harker at solving visual problems, at making scenes work with ease, at throwing in fresh ideas, whereas writing novels requires you to sort those problems out yourself, to deal with prose as well as dialogue. Both are lots of fun, and I learnt a lot about Harker and Critchley as characters from writing the Harker novel last year, but there were times when I really could have used Vince to help me bridge a scene or two, to throw in his ideas.

There are also, of course, an awful lot more words to type when writing a novel. I suppose I must enjoy the process as I’ve written three now, and it’s always a huge creative rush.

Comics demand a different mind-set, one that’s more visual, with different problems to solve, mostly in pacing and structure. I cut a lot of dialogue when writing for comics, paring it down to what works, whereas in novels I tend to take the reverse approach. Less is more, except when it’s not.

it down to what works, whereas in novels I tend to take the reverse approach. Less
it down to what works, whereas in novels I tend to take the reverse approach. Less

36

it down to what works, whereas in novels I tend to take the reverse approach. Less
it down to what works, whereas in novels I tend to take the reverse approach. Less
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What do you say to those crazy people who see photo referencing as somehow cheating?
What do you say to those crazy people who see photo referencing as somehow
cheating?
Vince: Nobody has ever accused me of cheating in that way, but I suppose if they did I’d
ask them if they’d ever tried to draw a full comic on a monthly basis. I know there are
artists who can produce realistic looking work very quickly but I’m not one of them. If
I want the art to look good, and I want the characters to look real, I need my photos! I
also fi nd that the process of photographing models can throw up new ideas that I hadn’t
though of when doing the storyboards. Creating a comic isn’t about fi ne art, it’s about
story telling - the end justi fi es the means.
Knowing Roger as long as you have, how does that make the creative process easier?
Vince: He already knows that I’ll punch him if I don’t get my own way.
What’s the ultimate goal for Harker as a series?
Vince: Just making enough money to be able to continue doing it would be nice. My
needs are not great (although that world cruise and the apartment in Santorini have
been a niggling aspiration) but the time involved in producing Harker means that I don’t
get a chance to do much else from a work point of view so at the moment I’m very poor
(donations greatly accepted).
Do you enjoy getting inspired by the sights around you when creating the artwork?
Vince: I would if I was in Santorini but there isn’t a great deal inspirational going on in
downtown Clifton. Rog and I are hoping to move into (or at least nearer) town in the not
too distant future and York can be inspiring, which is partly why I set Sapphire there.
*The British Invasion was a time in the late 1980s when many UK comics
writers made it big in the US, writing popular characters, and becoming popular
themselves. Writers such as Neil Gaiman, Alan Moore, Grant Morrison, Warren
Ellis, Garth Ennis and more were part of the in fl ux.
39
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Archie Comics gave Tom DeFalco his start in the comics biz, back in the early
Archie Comics gave Tom DeFalco his start in the comics biz,
back in the early 1970s. While there he launched the popular Digest
series, which is still around. Landing at Marvel he developed a fondness
for Spider-Man, not only writing Peter Parker’s adventures (including
introducing his black costume) and moving on to editorial duties, but
eventually becoming Editor In Chief. He held that post for 8 years, while
still writing titles such as Thor and the spin-off starring fellow hammer
wielder, Thunderstrike. Returning to scribe Spider-Man in the mid-90s,
DeFalco then created his most beloved character in the form of Spider-
Girl. Debuting in What If? Volume 2 #105, May Parker, otherwise known
as Mayday, was shown to be the daughter of Peter Parker and Mary Jane
Parker in an alternate version of the regular Marvel Universe. Proving to
be a popular heroine, Spider-Girl staved off a few proposed cancellations
and ended her first series with #100. Mayday soon returned though,
in another series, entitled The Amazing Spider-Girl which lasted until
the recent #30. This makes Spider-Girl Marvel’s longest running series
with a female protagonist. If that wasn’t impressive enough, DeFalco
also helped form the G.I. Joe and Transformers franchises in the early
80s, and has penned several novels as well as the Ultimate Guides for
various Marvel heroes, and edited the interview/behind the scenes
Comics Creators On…books from Titan. It’s Spider-Girl that most fans
will associate DeFalco’s great work with though. Mayday’s fans are a
vocal bunch, a fact which DeFalco is all too aware, as a regular poster
on fan-site www.comicboards.com/spider-girl. He, along with frequent
collaborator, artist Ron Frenz seem to have crafted a title, and character,
that seems to have legs though, and Mayday’s stories aren’t done yet.
How would you like Spider-Girl as a series, to be remembered?
TOM: I would love SPIDER-GIRL to be remembered as a beautifully drawn, fun and exciting series
that’s full of action and angst in the merry Marvel manner.
Mayday’s not completely off the radar though, right?
TOM: Absolutely not. She will continue to appear as a monthly feature in AMAZING SPIDER-MAN
FAMILY and as THE SPECTACULAR SPIDER-GIRL on
MARVEL DIGITAL CONTENT. The little character that
could lives on!
How important have Ron Frenz and Pat Olliffe been
throughout the series?
TOM: Duh! They’re the guys with the real talent. Both
Pat and Ron are great artists who really understand the craft that’s
involved in telling a story visually. They infuse their characters
with real life, personality and individual manners. Pat and Ron
also contribute all the good story ideas. I’m very happy to
ride on their coat tails.
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TTomom DeFalcoDeFalco 43
TTomom DeFalcoDeFalco
43

What about Thunderstrike? Any chance of seeing him again?

TOM: Anything’s possible! Ron Frenz and I love the character and we’ve recently begun talking about him, again.

Being there at the beginning with two of Hasbro’s biggest franchises, in G.I. Joe and Transformers, did you have any inkling of how they’d be received?

TOM: No, not really. When we rst began working on G.I. Joe, a lot of people--including many who worked at Marvel--hated the series because they thought it would glorify war. They soon learned it was more of an adventure series than a war comic--and Larry Hama deserves ALL the credit for making it such a huge success. We hoped that Transformers would do okay, but we were amazed by the way people responded to it. Bob Budiansky’s the guy who made that happen.

Does it make you proud that new generations are now familiar with G.I. Joe and Transformers, or don’t you really follow the current incarnations?

TOM: I haven’t been following the comics, but I did enjoy the rst Transformers movie. I intend to see the second and the G.I. Joe lm.

How do the Dorling Kindersley guides and Titan interview books stretch you as a writer in ways comics don’t?

TOM: Dorling Kindersley produces coffee table books for the mass market, which requires a whole different approach to the material. While I know comic fans buy these books, I really aim them at people who are only vaguely aware of characters like Spider-Man, the Hulk and the others. As for the COMIC CREATOR books I did for Titan, they gave me a chance to learn more about my craft, the characters and the people I worked with. If I could learn new things with each book, I gured the fans would pro t, too.

You’ve been associated with some strong, and lasting female characters over the years, such as Betty and Veronica, Spider-Girl and even Dazzler. Has that always been a conscious choice on your part?

TOM: You forgot Silver Sable! I can’t really say it’s been a conscious choice. I just happen to love and respect women and am naturally drawn to them. Such a pity the feeling is rarely reciprocated.

With Archie and more recently with Marvel the digest format has been pretty good for your series. Do you see the future of comics eventually moving away from monthlies and into different formats?

TOM: I believe the comic book medium--like all media--is in a constant state of evolution. No one knows what the future will bring so I always try to be open to anything that comes my way. I’m very excited to be working with MARVEL DIGITAL because I think that’s a very viable path that comics will be taking in the future.

www.marvel.com

that comics will be taking in the future. www.marvel.com All characters TM & © Marvel Comics,
that comics will be taking in the future. www.marvel.com All characters TM & © Marvel Comics,
that comics will be taking in the future. www.marvel.com All characters TM & © Marvel Comics,

All characters TM & © Marvel Comics, Inc. All rights reserved.

comics will be taking in the future. www.marvel.com All characters TM & © Marvel Comics, Inc.
comics will be taking in the future. www.marvel.com All characters TM & © Marvel Comics, Inc.
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Disney and Muppets

goBOOM!Therelatively new publisher has made a name for itself as the new Dark Horse, merging successful adaptations of popular properties including Farscape and Warhammer, with engaging series covering every genre imaginable. Now they can add Cars, The Incredibles, Toy Story and The Muppet Show to an impressive roster. Paul Morrissey from BOOM! Studios gives us the lowdown.

What do The Incredibles, Muppets and Cars bring to BOOM! that none of your other series do? An all-ages audience! That’s the easy answer, of course. But they also allow us to play with amazing worlds and characters that everyone loves and adores. These are huge franchises with a built-in audience. BOOM! is very honored to tell all-new stories featuring the likes of Mr. Incredible, Kermit and Lightning McQueen. I’m con dent that fans will really like what we’ve done!

Having Mark Waid write The Incredibles is a pleasant surprise. Is he on the series for a few issues? Ican’timagineabetterwriter for The Incredibles than Mark Waid! He combines

action, comedy and the family dynamics of The Incredibles masterfully. Mark’s rst story arc will be four-issues long. After that, Mark’s going to mastermind two more story arcs, each being four issues in length. If my math is correct, that’s 12 issues total!

With Warhammer and now Disney and Jim Henson you have some diverse properties. Was that always part of BOOM!’s game plan? Obviously, with the Disney books, we’re branching out and making a line of comics just for kids, but I think BOOM!’s plan has always been to work with properties that we’re genuinely excited about! And, you know, there might even be some crossover. I can certainly imagine that many Warhammer fans would also pick up our Incredibles and Muppet Show comics. I wish I could tell you about some of the upcoming properties we have lined up, but it’s top-secret right now! In any case, I can assure you that BOOM! is going to continue to surprise!

www.boom-studios.com

www.markwaid.com

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LLexpressexpress,, the studio of writer/artist Alexis E. Fajardo has the distinction of being a publisher,
LLexpressexpress,, the studio of writer/artist Alexis E. Fajardo
has the distinction of being a publisher, “where comics
and the classics converge.” That should tell you all
you need to know about this unique company and the
man behind it.
they are these days
),
50
company and the man behind it. they are these days ), 50 Fajardo is obviously a

Fajardo is obviously a man with a rm grasp of, and appreciation for, ancient tales of wonder. His on-line strip Plato’s Republic ran from 1999-2003 and was a curious mix of talking animals and philosophy. Since then he’s been primarily working on his Kid Beowulf series of original graphic novels centered on reimagined versions of characters from the legendary poem, as well as his ‘day job’ at the Charles M. Schulz Studio for Peanuts licensing. Kid Beowulf and the Blood-Bound Oath is available now, with Kid Beowulf and the Song of Roland making its debut at July’s San Diego Comic-Con. If all you know about Beowulf is a CGI Angelina Jolie, read on…

Can you give us a brief history of Kid Beowulf and Lexpress?

Alexis: The very rst sketch I did of Kid Beowulf was back in 2001 it was done as a lark, a back-up story a friend of mine wanted to contribute to a zine he was doing. During that time I was pretty dedicated to getting my online comic strip “Plato’s Republic” syndicated, so Kid Beowulf was really just an exercise in the comic book format. MMyy tastestastes invariablyinvariably gogo ttoo hhistoryistory aandnd mmythologyythology so I decided to do a funny, action/adventure strip in the vein of Asterix (which I read when I was growing up). At the time I was rereading BEOWULF and it occurred to me that Beowulf was one of those rare characters who appears fully formed and heroic right from the start. Something about seeing what he was like as a kid seemed instantly funny to me.

I really didn’t think Kid Beowulf would grow beyond the zine format. But the more I

started to play with the story and hammer out the narrative, the bigger it got; before I knew it I had built up a 12 book narrative! I started pitching the idea to any publisher who would listen, but didn’t get very far (all-ages graphic novels were not the rage

so I decided to publish it myself and that’s when I formed

my studio label “Lexpress.” I learned a lot about the industry and what it takes to put together a book and really enjoyed doing it, but self-publishing is a very, very, tough business and I quickly realized that if I wanted to do the full Kid Beowulf story arc I was going to need a publisher. Lexpress remains my studio name and the banner all my separate projects live under.

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What is it about epic poetry that you love? The language is very potent and
What is it about epic poetry that you love?
The language is very potent and it instantly conjures up very palpable images for me. The fi rst time I read
BEOWULF was in high-school and nothing I ever read prior to that ignited my mind with such incredible
imagery. I still remember reading a passage that described the fi re swamp Grendel’s mother lived in and
the description just crystallized in my mind. I don’t know Old English and my ancient Greek is horrible,
so I’m at the mercy of the skill of the translators, but even then the language of the original texts comes
through in a way other types of prose does not.
I also think there are similarities between epic poetry and comics. They are both the language of lines:
epic poetry uses speci fi c words and meter to conjure images that help create a unique world, much the
same a way a good artist searches for that perfect pencil line or pen stroke that creates a believable
universe on the page with the same ef fi ciency and clarity. There are also similarities in the epithets used for
characters in epic poetry and the symbology used in comics. For instance in the ILIAD, whenever Achilles
appears he’s referred to as “the great runner Achilles” and Odysseus is known as “the great tactitian” or
the “wily wanderer.” When an audience hears those phrases they know immediately who Homer is talking
about, much the same way current audiences recognize superheroes by the Superman symbol or the
Batman symbol, it becomes a visual shorthand to connect with readers and resonates with them in a more
immediate way.
It must be pretty intimidating at times to look atthese lengthy tales that have lasted through the ages!
Doyou fi nd yourself looking at your writing in the light of
their ancient inspiration?
I try not to think about the sheer weight of history and importance these stories have, otherwise it’d be
pretty debilitating. My one reprieve is that I’m not trying to rewrite these epics or replace them, I just want to
reintroduce them to a new audience. Hopefully I can tell an exciting enough story with these characters that
people will get curious and want to read more and they’ll turn to the original source material. I like to think
of my stories as prequels to the actual epics, so if readers want to fi nd out what happens to a hero’s future
fate they can read the epic poems.
SSomeome ofof tthesehese sstoriestories aarere moremore obscureobscure thanthan othersothers andand II wwantant ttoo
mmakeake themthem asas accessibleaccessible asas possiblepossible, so I’ve decided to do a “prologue” for each book
that is basically my own retelling of the epic poem the book is based on. That way readers can get in on
52
the ground fl oor and at least know what the basic beats of the original
the ground fl oor and at least know what the basic beats of the original
the ground fl oor and at least know what the basic beats of the original
the ground fl oor and at least know what the basic beats of the original
the ground fl oor and at least know what the basic beats of the original story are. The prologue I did for “Kid
Beowulf and the Blood-Bound Oath” is the original BEOWULF poem. Currently I’m working on the prologue
for “Kid Beowulf & The Song of Roland,” which will be my retelling of the Roland story.
The prologue is probably the most challenging part to do because these stories are such classics and I’m
basically condensing 3000 lines of poetry into eight pages. On top of that the style I draw the prologue in is
more realistic than my standard “cartoony” style and that takes more time and effort. It’s a lot of fun when it
fi nally comes together though.
53
What do you think these ancient characters offer that perhaps today’s superheroes can’t? In a
What do you think these ancient characters offer that perhaps today’s
superheroes can’t?
In a word? Death. Epic heroes and Superheroes may perform similar deeds
and may have similar narratives, but there is a clear and de fi ned end point to
the epic hero’s story. Perhaps more important is the epic hero’s own knowledge
of his mortality and the choices he makes in the face of it: Achilles is given the
choice to lead a long and happy life but die in obscurity, or he can live a short and
tumultuous life as the greatest Greek hero, and have his name live on centuries
later. Hektor knows that he will die at Achilles hands, but he is the last defender of
Troy, so he must fi ght him anyway. Beowulf, old and gray, knows that he won’t survive
the fi ght against the Dragon, but he’s the only one who has a chance of defeating it so
he must try. Roland failed to signal for help when he should have and had to face the
dire consequences because of it. And so on.
As sweeping and fantastic as a superhero story might be, it always has to return to the
status quo. Superman will always be back at the Daily Planet, Batman will always return to
the batcave, and Spiderman will always be the lovable loser hero. There is never any
real growth or realization granted to the characters, so the narrative just becomes
cyclical and ultimately repetitive. The superhero stories that have come closest
to the epic hero story are “Watchmen,” “Dark Knight Returns,” and “Kingdom
Come.” The theme that ran through all of those books was mortality. The
choices and the consequences those characters faced were as palpable
as those an epic hero would face. If Marvel decides to keep Captain (Steve
Rogers) America dead, then all the stories that led up to that point will have much
more resonance in the light of his death and he’ll become an even greater hero because of it.
What aspects of the various poems you’ve adapted did you feel had to be unchanged? Or was
everything up for grabs?
Well the premise for Kid Beowulf is that Beowulf and Grendel are 12-year-old twin brothers.
That right there is a pretty big deviation from the original story. As different as that conceit
is though, the end of the Kid Beowulf story is BEOWULF. The confrontation between
Beowulf and Grendel will happen and it’s alluded to throughout the course of their
adventures together. With each book they will get a little older and they will learn
more about their destiny as adversaries. The real meat of the story is these two
brothers dealing with the fact that one day they will have to fi ght each other to
death.
54
FForor mme,e, iit’st’s aallll aaboutbout ccreatingreating aa ffunun aadventuredventure sstorytory and pointing
FForor mme,e, iit’st’s aallll aaboutbout ccreatingreating aa ffunun aadventuredventure sstorytory and
pointing readers back to the original poems, that’s the launch point for my stories
and place I go back to whenever I’m stuck. I’m lucky because I know how each
of these stories ends, which makes writing the beginning that much
easier.
Why did you choose the graphic novel format rather
than a series of individual issues?
Doing the stories as graphic novels is the absolute best way to
deliver the story and that’s where the demand is in today’s market.
As a comics fan I did away with my fl oppies years ago and these days I
just wait for the trade. As a creator I’d much rather spend a full year on a
book and have the whole story available at one time than try to beat back
deadlines on a monthly basis. Most important though is that the GN format
is what best serves the story I’m telling.
Has the reaction from readers been what you expected?
Even though I’ve been working on Kid Beowulf in some form
or another for the last 7 years, it’s still very much in its infancy.
The fi rst book with my new publisher “Kid Beowulf and the Blood-
Bound Oath” was released in 2008. It’s gotten good reviews, most
notably from The School Library Journal, but it’s still not that well
known. It’s going to take some time for the series to build
up steam, but I’m con fi dent that it’ll fi nd an audience.
I think kids and adults are hungry for a
good adventure story and that’s what Kid
Beowulf is all about.
How did your relationship with Bowler Hat
Comics come about?
I was attending the Stumptown Comics Fest in
Portland, Oregon in 2006. At the time I was still
self-publishing Kid Beowulf but I was looking for a
publisher. Bo Johnson, the publisher of the Bowler
Hat Comics was looking for a book to launch his
new company with and he took a shine to Kid B. We
started a dialogue and after a few months I signed a
contract to produce the fi rst Kid Beowulf trilogy with
Bowler Hat. It’s been a very fruitful partnership and I
look forward to it continuing.
55
What’s next for you? You plan to publish a few more books in the KB
What’s next for you? You plan to publish a few more books in the KB series, right?
TTherehere willwill bbee pplentylenty ooff KKidid BBeowulfeowulf iinn tthehe nnearear aandnd ddistantistant ffuture.uture.
CCurrentlyurrently I’mI’m wworkingorking oonn tthehe ssecondecond bbookook iinn tthehe sserieseries ““KidKid
BBeowulfeowulf && TThehe SSongong ooff RRoland”oland” wwhichhich wwillill bbee ooutut ssummerummer ooff 22009.009.
After that I’ll have “Kid Beowulf vs. El Cid” in 2010. And the series will continue on after that taking Beowulf
and Grendel into Italy, Greece, Mesopotamia, India, Japan, China and then back home again. The whole
Kid Beowulf story takes place over the course of 12 books, so I’ll be at this awhile!
www.kidbeowulf.com
www.bowlerhatcomics.com
EExtraxtra SequentialSequential PartPart 2:2: EvolutionEvolution sojourn it has been. And will continue to be. OK
EExtraxtra SequentialSequential PartPart 2:2: EvolutionEvolution sojourn it has been. And will continue to be. OK
EExtraxtra SequentialSequential PartPart 2:2: EvolutionEvolution sojourn it has been. And will continue to be. OK
EExtraxtra SequentialSequential PartPart 2:2: EvolutionEvolution
sojourn it has been. And will continue to be.
OK we made it. We have taken an idea, nurtured a
When the idea of a comics mag first hit me like a
turquoise wave entering my barren subconscious
construct and after doggedly hammering it out in
numerous hours in the often solitary red eyed glow
of a laptop, we brought issue 1 to glorious fruition.
Then after all of that and despite the pull of the
brain numbing call of making a pay cheque,
watching TV or just fulfilling other desires, be it
family, surfing (Dave) or gorging on more comics
and pop culture (Kris) we did it all again for issue 2.
I was surprised I hadn’t thought of it before. “Us
comic geeks love to read stuff and drool at perty
pictures, and Wizard has a stranglehold on the
comics mag market. No more!” I said to myself.
I thought I was genius for having the concept of
creating a magazine that would cater to fanboys
and non-nerds; a cross between Wizard and
Juxtapoz if you will. My grand ambitions soon
meet a little thing called reality however, and she
I believe too that this is the real acid test. To have
is a harsh mistress. Working full-time as well as
an idea is often effortless. Inspiration by itself costs
nothing, but to actually realize an idea is a tangible
achievement, and to do it again is to actually
arrive somewhere meaningful. We are starting
a journey and making something that begins
to live and breath and have it’s own presence!
We have kept the ES ball rolling, moving forward
and increased its inertia towards the ultimate
aim of producing a printed mag on a regular
basis that is distributed across the globe in the
Americas, Europe, Japan and even Australia!
writing for 2 different websites and a blog means I
already spend the majority of my non-sleeping time
facing a computer. However, it’s not like I have a
girlfriend or anything else to whittle away my time
with, so I thought I’d give it a shot. As I approached
Dave at our ‘normal’ job about it, he was genuinely
intrigued. Not being a comic aficionado like myself,
he was nonetheless slowly becoming one with the
wonders of sequential art, thanks to my subliminal
messages. That, coupled with his creative desires
made it happen, and the odd couple was born.
I hope you’ll notice a subtle improvement in issue 2,
withmorepages,moreelaboratequalitylayoutsand
even a new logo. We will also be refining the latitude
of
our content to dial into our demographic of teen
And on we rolled. Using InDesign for the first
time and realizing the cost of printing our
endeavour were not enough to deter us, and
we immediately changed ES into the form you
now see – a digital mag for a digital audience.
to
thirty something pop junkies and disclose some
more behind the scenes insights and reveal non
comic book stars (i.e. sportsman, actors, etc) who
are sequential art junkies. So stay tuned for issue
3 to see some of these new initiatives take shape!
So far, it’s been fun. We’ve had good feedback and
it’s been satisfying to put the spotlight on indie
books. They deserve it. As anyone who pursues
a dream we understand that there really aren’t
Viva la revolucion!
Dave
Art Ed
enough hours in the day. Well, actually, there are.
It’s just that most of those hours involve doing
work that’s nowhere near as satisfying. Not that
we work in the coal mines or anything, but like any
creative types, we dream of transforming our idle
fantasies into a life sustaining pursuit. One day….
ES. Extra Sequential. Evolva Systematica.
Kris
Well said Dave. Truly you are a poet with a strange
accent. As for myself, (Kris) I’ve enjoyed the ES
journey thus far. A long and winding road, with a
few hills, dead ends and roadblocks along the way
E-I-C
ES. Extra Sequential. Eager Sojourners.
to be sure, but an exhilarating, creatively fulfilling
along the way E-I-C ES. Extra Sequential. Eager Sojourners. to be sure, but an exhilarating, creatively
GGreenreen LLantern:antern: RRebirthebirth RRevieweview BByy AAndyndy LieglLiegl
GGreenreen LLantern:antern: RRebirthebirth RRevieweview
BByy AAndyndy LieglLiegl www.yourfriendandy.wordpress.comwww.yourfriendandy.wordpress.com
In 1970 DC charged comic book writer Denny O’Neil with revamping the super hero, Green
Lantern. In 2004 the DC top brass appointed the same task to comics scribe Geoff Johns.
The order was easier said than done: make Green Lantern interesting again. Not only was
Johns assigned the task of reviving the shattered Green Lantern Corps., but he also was told
to (literally) breathe new life into the man who destroyed the Corps: Hal Jordan, the greatest
of the Green Lanterns. Enter Green Lantern: Rebirth.
Rebirth is a six issue story that re-evaluates who Hal Jordan is as a man, and re-establishes the Green
Lantern Corps. as a beacon of hope in the universe. As Johns states in the Rebirth Trade Paper Back, “It’s
all tied into Green Lantern mythology, which is what we’re looking to restore. Everything needs to be tied
back to Hal Jordan, who he was, is, and where he’s going.” Without a doubt Johns, along with artist Ethan
Van Sciver, achieves these goals in Rebirth, presenting the Green Lantern mythos as a character driven sci-fi
thriller.
The story begins with Green Lantern Kyle Rayner (Hal Jordan’s replacement after his descent into madness
as the evil being Parallax) fl ying a space ship out of the sun’s core. Rayner’s cargo is the coffi n of Jordan,
and after crash landing on Earth his ring emits a warning that would alarm even the strongest of the Green
Lantern Corps: “Parallax is coming”
Meanwhile, Green Lantern John Stewart tries to convince former
Lantern, Guy Gardner, that he misses being a part of the Corps. While the two attend a Red Sox/Yankees
game (I won’t reveal who wins here), the previously devastated Coast City suddenly reappears out of
nowhere. To make the situation even more bizarre, so does the spirit of Hal Jordan, a.k.a Green Lantern,
a.k.a The Spectre, a.k.a Parallax
Geoff Johns (who, along with Van Sciver is currently reviving classic speedster Barry Allen in Flash:
Rebirth) does a great job of adding depth and character to every major player in this tale, touching on how
certain characters feel about the potential return of Hal Jordan; is he friend or foe? Johns presents John
Stewart as an admirer of Jordan, while Batman serves as his antithesis. Oliver Queen (Green Arrow) makes
an appearance in the defense of Jordan, keeping a close eye on his most precious memento; Hal’s power
ring. Johns’ sole weak point in the writing is his tendency to use objects as a convention to incite will power
into his characters. In Rebirth the object is the jacket of Hal’s father. Later on in the series, it will be Kyle’s
attachment to a painting by his mother. While sentimental, it also comes off as a gimmick.
Ethan Van Sciver’s pencils are fantastic. He thinks like a cinematographer as every panel looks like it was
pulled from a movie. His clean lines make the people look realistic amongst scenic backgrounds and detailed
it was pulled from a movie. His clean lines make the people look realistic amongst scenic
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costumes. The fi ght scenes are loaded with action, and the battle between Green Lantern
costumes. The fi ght scenes are loaded
with action, and the battle between Green
Lantern Kilowog and the sole surviving
Guardian, Ganthet, is particularly awesome.
Sciver’s statement about the uselessness of
Aquaman doesn’t go unnoticed, and the
only out of place shot is when Kyle Rayner
attacks an enemy with a giant pencil. Not
only does Kyle attack with the eraser side,
but he strikes a thinking pose in the heat
of battle
it’s awkward. Moose Baumann’s
colors are vibrant, and play a major role in
this story as color decides ones allegiance
to good or evil. Moose’s work shines it’s
brightest when Hal Jordan takes on one of
his greatest foes; trails of light emit from the
combatants giving the scene an appropriate
science fi ction feel. Inks by Prentis Rollins,
Marlo Alquiza, Mick Gray, and Sciver are
fi nely done. Special features in the trade
include a forward by novelist/comics scribe
Brad Meltzer, a variant cover gallery, Johns’
plot outline, and six pages of story previously
published only in Wizard magazine.
While Green Lantern: Rebirth is the perfect
jumping on point for new comers to the
Green Lantern mythos, it also serves as
a worthy tale to long time Lantern fans.
Rebirth addresses the past and resolves
it, shifting the focus to the future of the
Green Lantern Corps. So charge up your
power ring and say the oath, because Green
Lantern: Rebirth is only the beginning
www.dccomics.com
So charge up your power ring and say the oath, because Green Lantern: Rebirth is only

British artist Steve Pugh’s recent series, HHotwire:otwire: RRequiemequiem fforor tthehe DDeadead is a

thing of beauty. Not just the titular character herself, but the entire four issue mini-series. With its second issue available now, the book, written by Pugh with concepts by Warren Ellis, is a sci-fi

merging of punk, cop show and horror with a tough on bad guys, but easy
merging of punk, cop show and horror with a tough on bad guys, but easy on the eyes heroine, Alice
Hotwire – Detective Exorcist and her adventures in a future London ravaged by “blue lights.” These
electromagnetic ghosts are causing havoc, but that’s okay, because so is Alice. The book has been in
development for years, but when you see the following pages, you’ll agree that it was worth the wait.
www.radicalcomics.com
www.stevepugh.com

LLeagueeague ooff ExtraordinaryExtraordinary GGentlemen:entlemen: CCenturyentury RRevieweview

This third volume of the League of Extraordinary Gentlemen opens at the bedside of a sweating man with feverish dreams involving a young lady swimming naked and cloaked cult members’ ambitions to create a Moonchild, whatever that may be. As the man, Tom Carnacki, the ghost finder wakes he speaks of his night-time adventures to his fellow team-mates, Orlando, A.J, Mina Murray and Allan Quartermain. Thus we are introduced to the latest batch of “gentlemen.” This has been an extraordinary series from the outset. Well, mostly. Writer Alan Moore (Watchmen, From Hell) and artist Kevin O’Neill unleashed their concept of famed adventurers from the annals of literature upon

the world in 1999. Mina Harker, from Bram Stoker’s Dracula was tasked by British Intelligence to form

a team and gathered Allan Quartermain, Dr. Jekyll, Captain Nemo and others along the way to saving

London. The second volume was a great tie-in to H.G Wells’ War of the Worlds, which was followed by

a stand-alone graphic novel entitled The Black Dossier. Dossier was not the high point that the first

two series were, mainly due to its varied narrative and frequent use of Moore extras such as prose pieces, letters, maps and the like. The greatest asset throughout the series has been the constant relationship of Harker and Quartermain in the different time periods. Dossier was light on that but did fill in some details about other incarnations of the League, reminding comic readers again that Moore is no slouch when it comes to research.

Not nearly as accessible as the first two volumes, Century is the first to be published by Top Shelf, instead of DC Comics. This is the first in a trilogy of 80 page one-shots, with this introduction set in 1910. The next one will delve into the swinging 60s, with the finale set in the present day. That prospect intrigues me. However, this isn’t the Leagues’ greatest outing, though I am curious to see where it goes. O’Neill’s harsh lines are perfect to Moore’s creation, with it’s dark humour, nudity and brutal violence and he makes the most with the dirty world they inhabit. League has always been unashamedly gritty and multi-layered, like most of Moore’s work, but League has always been, not surprisingly, his most literary series. You either feel smarter for having read it, or dumber for not grasping the references to works of fiction scattered throughout each page. Students of literature will continue to have a field day with this series.

The problem with Century is that there is simply too much going on. I know doubting Moore’s genius is like slapping Shakespeare, but whereas the first two volumes were just manic fun with a boy’s own adventure feel stamped all over it, this feels unnecessarily complex. The number of characters is greater than a Cecil B. DeMille film and the League gets diluted because of it. Saying that, I’ll attempt to break down the plot as best I can. Here goes…

The woman from Tom’s dream, Jenny Diver walks past a popular reproduction of Captain Nemo’s impressive battle ship, Nautilus and discovers from Nemo’s old friend Ishmael that the Captain’s last wish was to give his recently changed beauty of a ship to his only child. The crew need a Captain, but the stubborn woman doesn’t want to be any such thing. She eventually changes her mind for some reason and goes on a mad rampage.

Tom, along with Mina, new League member Orlando (known as he-she, behind his/her back), thief A.J Raffles and Quartermain (who is introduced as his own son to avoid suspicions of his newly gained immortality presumably) visit the Merlin Society. While the team wanders around a room full of occultists, A.J does some snooping around and the team discover Doomsday premonitions from magicians Simon Iff and Oliver Haddo. Tom eventually barges into the cult’s HQ and sees the events of his dream played out before him -almost. Amongst all this, there’s plenty of singing from various

sees the events of his dream played out before him -almost. Amongst all this, there’s plenty

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characters espousing exposition, claims that Orlando posed for the Mona Lisa, and wields the famed sword Excalibur, the return of a nasty serial killer and a meeting with Andrew Norton a figurative prisoner of London. All of these characters and more are from old novels, though don’t ask me which ones, and they do serve a purpose in moving the story. However I think Moore needed to restrain himself. The majority of the scenes, and singing, just appear indulgent. This could have been a tale with fewer pages and it would have been a lot less shambolic. References to actual events of the time, such as King George V’s coronation, as well as the events of the brilliant previous series help give this perspective, but it’s not enough.

Fans of Watchmen will be familiar with typical Moore devices, particularly the panels that are filled with details that go over this uneducated fanboy’s head. After reading Century, I’m still a fan, but one of the earlier, and simpler tales. I don’t mean to say that I’m a fan of the much-diluted film version (which made Sean Connery retire from cinema) but Century has gone too far the other way. This is strictly for League lovers only. However, I am curious to see where the next two one-shots venture forth. League is far too grand an idea to let go just yet.

www.topshelfcomix.com

w here the next two one-shots venture forth. League is far too grand an idea to
w here the next two one-shots venture forth. League is far too grand an idea to
Neozoic was one of the fi rst series from new publisher Red 5, back in
Neozoic was one of the fi rst series from new publisher Red 5, back in
Neozoic was one of the fi rst series from new publisher Red 5, back in late 2007. Since
then, the publisher has created further success with series like Atomic Robo and Abyss.
Neozoic is where it began though, and the 8 issue mini-series is now collected in Trade
Paperback form.
Written by Red 5 co-founder Paul Ens with art by J. Korim, Neozoic presents a world
strangely different from our own. Due to the dinosaur killing meteor hitting the moon
instead of the earth, humans and dinosaurs now share the same planet. A fantastic
premise that may conjure images of Planet of the Apes for some, Neozoic distances itself
by crafting an intriguing world run by humans who have learnt to adapt and survive over
the millennia, as they forge a basic world in which they’re surrounded by a variety of toothy
beasts.
Lilli Murko is the protagonist and leader of the Donti Squad of the Predator Defense
League, a team trained to keep dinosaurs from developing a taste for human snacks. Set
primarily inside and in the lands around Monanti City, the series follows Lilli and her squad
as they investigate recent erratic behaviour of the ancient beasts, as well as the discovery
of a girl called Milo, from an underground tribe known as the Talpid.

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When Lilli drops off the lonely girl to her devout father and sister, the dinosaurs
When Lilli drops off the lonely girl to her devout father and sister, the dinosaurs gather on Monanti
City and start attacking, with the Talpid warriors led by Master Baas close behind, seeking to claim
the city as their own by destroying the royal family. Lilli wants the girl safe, but is pretty much the
only one, until she and wall maker Pax fl ee the city for the forest and fi nd an ancient community fi lled
with outcasts, and discover Milo’s telepathic abilities. As more facts about both races are uncovered,
enemies become friends and friends become enemies, and battles ensue between men and monsters,
and men and men. And women.
Imagine if Peter Jackson had made a Mad Max sequel after Lord of the Rings, and then Steven
Spielberg told him to replace the cars with dinosaurs. That’s Neozoic. The action scenes are laid
out on the page with great gusto and the blood fl ows freely. With some great turns this tale allows
everyone to become the enemy at some point. It’s not just the huge salivating beasts that are the main
concern. Every character has to watch their back. This is a great series and one that easily entices you
into its fantastic world. The characters are all distinctive enough, with real motivations, and there is no
barbarian talk. Lilli is obviously the star of the show (and it’s great to see an Asian female protagonist)
but her team-mates and family members aren’t cardboard cut outs. Even with the brief page time
some of them receive, they are treated with great care by Ens.
Korim’s costume designs are very creative and practical in this stripped back existence, and the artist
makes every battle scene come alive with frantic energy. Jessie Lam’s nuanced colouring really helps
sell the setting too. The whole creative team sell the setting well in fact, with its cratered moon and
use of words like Triety instead of God, and dinosaur types with names like amido, nychee and tigras,
instead of what we’d refer to as whatever-saurus. It’s a world just out of reach with its great alternate
history platform.
Fans of fully realised fantasy worlds and hard core action must sink their fangs in to the 216 page
Neozoic TPB. It’s tasty and will leave you hungry for more. And since this is only Volume 1, you may
just be in luck.
www.red5comics.com
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Marking the 30 th anniversary of Joe Jusko’s illustrious career is Desperado Publishing’s new book,
Marking the 30 th anniversary of
Joe Jusko’s illustrious career is
Desperado Publishing’s new
book, The Art of Joe Jusko.
Known for his stunningly
realistic paintings inhabiting
every genre imaginable the
artist opens up classic
and brand new art
including sketches,
comics,bookcovers
and more for the
tome, that also
includes tutorials.
The impressive 328
page art extravaganza
is available now.
Also available from
Desperado is the 312
page book, Archetype:
TheArtofTimBradstreet,
who’s known for his
impressive covers on The
Punisher and Hellblazer.
Jusko
somehow
managed
to
pick
his
faves
from
his
impressive
career
and
offered
up
the
reasons
why.
You
may
begin
drooling
now.
TTOMBOMB RRAIDERAIDER
My first and favorite Tomb
Raider painting. I wanted an
image that captured everything
Lara and I think I succeeded
here. It’s proven to be an iconic
image that was nominated
for a 2001 Chesley Award.

JJustust JJuskousko

here. It’s proven to be an iconic image that was nominated for a 2001 Chesley Award.
MEGAN “100 Bullets” I very seldom get a chance to do a straight B&W piece
MEGAN “100 Bullets”
I very seldom get a chance to do a straight B&W piece so this was a joy. I love Eduardo
Risso’s work and wanted to match the look of his work in the book as closely as possible
while still keeping it mine. Unfortunately, while I thought it might have gotten me more
assignments of this nature that just didn’t happen.

IN THE CLUTCHES OF THE BLOOD RED QUEEN OF HEARTS

Just a really powerful graphic image that glows off of the cover. I got to play with high intensity color and paint an homage to the classic Gonzales/Enric poster from the 70’s. What more could a life long Vampi fan like me want?

TTHEHE IINCREDIBLENCREDIBLE HHULKULK

JJohnohn BuscemaBuscema was,was, andand isis mymy comiccomic artart godgod andand thethe rreasoneason II gotgot intointo comicscomics inin thethe rstrst pplace.lace. ThisThis waswas tthehe rrstst ttimeime II ggotot ttoo ppaintaint ooverver hhisis ppencilsencils (I(I hadhad inkedinked aa sstorytory aa ccoupleouple ofof yearsyears earlier)earlier) andand II relishedrelished thethe oopportunity.pportunity. ThisThis isis thethe secondsecond versionversion paintedpainted forfor thethe MMarvelarvel ThemeTheme Park.Park. TheThe originaloriginal appearedappeared onon thethe covercover ooff TThehe HHulkulk!! mmagazineagazine #26#26.

original appeared appeared on on the the cover cover o of f T The he H

CUDDLE THE CORPSE

This one of my homages to 1960’s paperback art. I love that era of illustration and wish I could have working during that period. Artists such as Bob McGinnis, Bob Abbett and Robert McGuire painted literally hundreds and hundreds of covers (McGinnis painted over a thousand himself) that are only today nally getting the respect they deserve.

TARZAN AND THE G

My (to date) ultimate ne art wildlife paintin publishing company, to come.

The Art of Joe Jusko is © Jo

OLDEN LION Tarzan painting. It’s a large private commission piece (26”x38”) that I approached as

OLDEN LION

Tarzan painting. It’s a large private commission piece (26”x38”) that I approached as more of a g than a fantasy or adventure piece. The commissioner liked the painting so much he started a www.theforestprimeval.com and released it as a high end giclee and lithograph, with more pieces

e Jusko, 2009. All rights reserved. www.desperadopublishing.com www.joejusko.com

a or to The world of comic books, like any world with a devoted fan
a or to The world of comic books, like any world with a devoted fan
a or to The world of comic books, like any world with a devoted fan
a or to
a
or
to

The world of comic books, like any world with a devoted fan base, can appear somewhat confusing to the outsider. The Terminal is

regular feature that will de ne the common terms used in comic

circles. In other words, this is the geek speak you need to know.

CCG – Comics Guaranty Company. A company that specialises in appraising the quality of individual issues. Grades range from 1 to 10 (being the best). The better the grade the more the issue is worth.

Retcon – Retroactive continuity. Continuity is what is known as ‘canon’ in other media, ie, a widely accepted story or truth to a particular character

story. A controversial issue, as continuity can be changed according the whim of a new editor or writer. This is known as a retcon, when

issue, as continuity can be changed according the whim of a new editor or writer. This
an event is now stated to not have occurred at all, or occurred differently than
an event is now stated to not have occurred at all, or occurred differently than
an event is now stated to not have occurred at all, or occurred differently than
an event is now stated to not have occurred at all, or occurred differently
than previously published. For example, Superman’s origin has been
retconned several times over the decades. At times, his powers developed
during his adult life, but according to other stories he developed powers
as a teenager, thus becoming Superboy fi rst and then later, Superman.
At times Clark Kent and Lex Luthor knew each other as children in
Smallville and at other times they fi rst met as adults in Metropolis.
Comic
Strip
Usually
self
contained
stories
published
exclusively
in
newspapers,
and
told
in
only
a
few
panels,
such
as
Gar fi eld
Phantom,
and
Calvin
and
Hobbes.
However
strips
like
The
and
Modesty
Blaise
tell
a
continual
story.
eld Phantom, and Calvin and Hobbes. However strips like The and Modesty Blaise tell a continual
DMZ Volume 6: Blood in the Game Review By Mladen Luketin www.myspace.com/ purgeaudit The newest
DMZ Volume 6: Blood in
the Game Review
By
Mladen
Luketin
www.myspace.com/
purgeaudit
The newest volume from what is perhaps currently
Vertigo’s (and Brian Wood’s) most popular title,
DMZ (De-Militarised Zone), doesn’t disappoint.
For those unfamiliar with DMZ, the series is
set in a near-future New York where America’s
overseas militarism has resulted in their inability
to quell domestic anti-government insurgents.
Although events leading up to the DMZ aren’t ever
explained in detail, the U.S army fails to beat the
“Free Armies” push eastward towards New York,
resulting in a stalemate. The Free States can’t
take a city so large, and the U.S army can’t defend
it. After a haphazard and incomplete evacuation,
more than 400,000 non-combatant civilians are
stranded in the De-Militarised Manhattan zone
between, and America as a whole disowns them,
and the partially devastated city.

Into this situation, enters Matty Roth, a young, untried war journalist, who becomes stuck in the city, and in between everyday survival, is attempting to report the reality and injustice of the situation to the outside. In his way stands his own one-sided news corporation, rogue New York insurgent groups, Trustwell Corporation and its self-serving ‘re-building’ agenda, the U.S. military, the Free States, the betrayed and untrusting Manhattan locals, and Matty’s own personal ignorance and cowardice.

In this volume, Matty is covering a farcical election being organised by the U.S and the Free-states to determine a new government for the DMZ. Things take a turn as newcomer Parco Delgado dramatically throws himself into the race, claiming to represent the interests of the citizens of the DMZ. Matty attempts to find out the truth of this revolutionary character, and as momentum builds for the campaign and various parties attempt to put a stop to Delgado by any means necessary, Matty must decide whether he can remain an impartial journalist when faced with a man who, for the first time, seems to have the wants and needs of the DMZ’s citizens in mind. The volume’s climax comes with an expectedly terrifying and frustrating election night, the result of which will permanently change the face of the DMZ, as well as the future of the series.

Riccardo Burchielli’s artwork, although always tight and grungy, appears to have relaxed and gone more low-key, lacking some of the punch and clarity of previous volumes. Don’t get me wrong though, the work is still of a high quality and very expressive, and stands out for its rough and instinctive texture, as well as its unique style. Vertigo has definitely lately been presenting a lot of work in a similar style, notably R.M. Guera (Scalped), Leonard Manco (Hellblazer) and Davide Gianfelice (Northlanders). To complement DMZ’s interior art, Brian Wood himself creates the covers for the series, in appealing and eye-catching street-art style.

The team-up of writer and artist is perfect for this sort of series. The main strength of Wood’s writing is in its presentation of personal stories. The struggle on a larger scale is basically second-tier to the effect on the cities’ inhabitants. Revealing and disturbing, it forces us to engage with the effect that our real-life wars have on the frustrated people who are stranded in the middle. The characters in DMZ are all well-written, the dialogue punchy and intelligent, and the story is absolutely engaging and human. The series is definitely for adults, but more because of the complicated subject matter and story, and NOT due to anything like the so-called ‘adult’ violent shock tactics that other modern comics writers like Warren Ellis or Garth Ennis resort to.

At times Wood slips into some overly simple criticisms, but let’s be honest here, a
At times Wood slips into some overly simple criticisms, but let’s be honest here, a series like DMZ was
never going to be pro-status-quo, and Wood fairly levels his critical eye at every single group and person
in the series. Everybody is far from perfect, and that’s exactly the point. How can a society believe that a
perfect government could ever come from imperfect individuals? But over and over again end, Wood’s
DMZ proves that it’s worth trying, even in the face of corruption, capitalist manipulation, fear and
ignorance.
A seriously top notch series for those who want more from their comics, Volume 6 of DMZ is the perfect
jumping in point for new readers and if you like what DMZ offers, also take a look at “The Other Side”
by Jason Aaron & Cameron Stewart (2007, Vertigo), “Shooting War” by Anthony Lappe & Dan Goldman
(2008, Grand Central Publishing), or pretty much anything else by Brian Wood.
www.dccomics/vertigo
Publisher Cinebook aims to set itself apart from its spandex focused brethren by bringing popular
Publisher Cinebook aims to set itself apart from its spandex focused brethren by bringing popular
Publisher Cinebook aims to set itself apart from its spandex focused brethren by bringing
popular comics from European nations to an English speaking audience. This year, they will
add a total of eight new series to their growing catalogue of unique properties, which already
includes titles such as Largo Winch, Lucky Luke and Thorgal. The first 48 page volume of
Pandora’s Box is out now and is written by Alcante with art by Didier Pagot.
As the U.S Presidential campaign heats up, it appears that Narcissus Shimmer will claim
certain victory. Private eye Ron Grubb is tasked by Shimmer’s opposition to dig up dirt and
bring the man down. However, the story is much more complex than that simple premise.
With the birth of a secret child who could be the world’s first clone, the ethics of hunger
for power and the ties between sin and Greek mythology and technology, Pandora’s Box is
anything but standard stuff.
Pandora’s Box © Dupuis- Alcante & Pigot
www.cinebook.com
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Popgun Volume 3 Cover by Tara McPherson. Image courtesy of Image Comics. 472 page anthology.
Popgun Volume 3
Cover by Tara McPherson.
Image courtesy of Image Comics.
472 page anthology.
www.popguncomics.com