Tuesday, January 3, 2012

Creator Roundup

This week, Dan Hipp makes Batman chummy with his rogue's gallery, Jeff Lemire talks about how awesome he is, Mike Choi does Jeff Smith's RASL, Kurtis J Wiebe and Riley Rossmo talk horror, Jeremy Bastion is insane as always, Chrissie Zullo does X-Factor, Dave Johnson goes to space man and Michael Avon Oeming draws Jonah Hex.

Dan Hipp has a ton of new work, including Batman with his enemies:

Jeff Lemire talked with CBR about Sweet Tooth, Animal Man and other things. He also gave them a 6 page preview of his new book 'The Underwater Welder':
In "Sweet Tooth" you've been telling a wonderful story in "The Taxidermist" arc, which was illustrated by "Revolver" & "Superspy" creator Matt Kindt. The arc goes 100 or so years in the past, to tell what could be considered the secret origin of "Sweet Tooth." Was it always your plan to tell the origin of "Sweet Tooth" this way?
Jeff Lemire: "The Taxidermist," the way it ended up, was never something that I had planned. It wasn't part of my initial plans for the series at all. It was something that kind of organically popped up as I was working on the "Dangerous Species" arc. Unlike other parts of the book that I've known since the beginning -- and I can't wait to get to -- that wasn't one of them but once I did think of it, I was really excited about it. I am pretty happy with how it turned out and it's really only scratching the surface of the story's origin. If anything, it probably adds more questions to the mythology but it does include some answers too.

Has Gus' origin changed since the series was originally conceived?
No, I think what has changed is how I was going to tell it. Some details have become -- well, it's hard to answer some of these questions without giving away too much but Gus' origin and the origin of the plague have always been a bit fluid. The thing that I have always known is the end of the book. And the end of the book isn't a big reveal of how it all happened. The end of the book is something else. It's more emotional and more character driven. So again, his origin and the origin of the plague have always been more fluid and it continues to develop as I get closer to some bigger reveals.

In the next arc, we return to present day. Obviously Thacker and the other characters from "The Taxidermist" are all dead, but will the events of that arc be explored moving forward?
Yes, for sure. Events and characters from that arc will connect directly to our present day cast. Specifically, Dr. Singh is going to start to uncover some of that past and it's going to lead him to figure some things out. That's all coming. And it's going to start interconnecting pretty soon.
The next arc, which runs through "Sweet Tooth" #29-33, is a five-part thing and after that, the story really amps up and all the answers really start coming out.

Jeff Smith points to SindiCate art with a RASL theme. Here's Mike Choi's:

Kurtis J Weibe and Riley Rossmo chat with Fangoria about Green Wake. Here's and excerpt:
FANG: After illustrating such comics as COWBOY NINJA VIKING and PROOF, how did you approach illustrating GREEN WAKE and its premise?
ROSSMO: I needed to make comics that were really purely emotional reactions to the script. GREEN WAKE is all the sadness, passion and anger I experienced and poured out onto the page. PROOF was a traditional comic experience, from script, pencils, ink, colors, and lettering. I didn’t have much input on the script for COWBOY NINJA VIKING. I just handled the visuals. GREEN WAKE is more of me in terms of story and visual expression. Since I do so much of the art than anything else I’ve worked on, I think in terms of the finished page while I work on it, instead of just penciling or inking.
FANG: The forgotten town of Green Wake can be seen as Hell, Purgatory, or an entire imaginary world created from Morley Mack’s troubled mind. Tell me about how you both developed the town of Green Wake.
WIEBE: Originally, the aforementioned short story version was about a town centered on a cult that had kidnapped a young woman. The story would’ve followed a man hired to track down the woman and rescue her. All the while, he was encountering some really weird situations at the hands of the cult.
Honestly, I’m not sure how that transformed into what GREEN WAKE is now, but the weirdness is what made the cut. We wanted the town to be as much a character in the series as the people who lived there, and even if all the characters found resolution, there would be this lingering question of what the hell Green Wake was. We talked for hours about the town, establishing the rules; why it’s there, how people get there, and for what reason.
Since we worked so closely together on the development of the series, it was easy to collaborate on meshing the art and the writing, because we both intrinsically knew what worked and what didn’t.
ROSSMO: We discussed a visual vocabulary at length and I did a bunch of paintings. We watched a number of films (CITY OF LOST CHILDREN, NAKED LUNCH, and DARK CITY), but the biggest single influence in Green Wake’s creation was TWIN PEAKS, and some personal struggles we were experiencing/discussing at the time of inception. Marshall Arisman’s paintings inspired the look of the art, as well as Bill Sienkiewicz’s STRAY TOASTERS.
- Jeremy Bastian offered this tasty nugget:
Pasted Graphic

Chrissie Zullo shows of some new artwork, including this X-Factor commission:

Dave Johnson posted covers for Spaceman #4 & #5. Here's 5:

Michael Avon Oeming goes western with this pic of Jonah Hex:

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