- Dan Hipp mixes Star Wars and Bubblegum:
- Jim Rugg shows off his skills with the ol' ballpoint pens:
- Joe Hill has released his short story with his father, Throttle, as a stand alone e-book:
A couple years ago, my dad and I wrote a short story together for an anthology celebrating the work of Richard Matheson. Our thing was called “Throttle,” and is the story of a biker gang persecuted by a faceless trucker… our riff on Matheson’s classic, “Duel,” which also features a homicidal trucker with a mysterious agenda.
The story appeared in that Matheson tribute (HE IS LEGEND), had a turn as an audio book, was recently adapted by Nelson Daniel and Chris Ryall as a two-part comic, and as of today, you can now find it in the eBookstore of your choice as a standalone:
As an added bonus, the eBook includes some of Nelson Daniel’s concept sketches for the story. It’s illustrated just like yer little kid’s favorite picsure book, hoo hoo! Only don’t show this story to your little kid, on account of all the people gettin’ run over and macheted and butchered and so on.
Thanks much and if you haven’t had a chance to check “Throttle” out, hope you will, and hope it gives you a good ride.
- Ben Templesmith offers his weekly dose of Star Wars:
- Eric Canete has a bunch of new art on his blog, including this suggestive piece:
- Neil Gaiman plays with bees:
- Bryan Lee O'Malley answers a few fan questions:
Q. I’ve been a fan of Scott Pilgrim for a while, but just read Lost at Sea recently, and really liked it, because it feels very personal, maybe semi-autobiographical. So…what do you think about auto-biographical/personal graphic novels? Would it have been hard to write Scott Pilgrim if you hadn’t writed Lost At Sea first?
A. lost at sea is actually less autobiographical than scott pilgrim, if you want to get technical… i intentionally grabbed a lot of locations and colorful characters from my life for Scott P, but lost at sea is much more traditionally fictional. nothing in Lost at Sea actually happened to me and none of the characters are specifically based on anyone i knew. it’s just a book that i wrote about some emotions i had.
The two stories represent two different ways of looking at my own life and trying to make sense of the world, i guess, which is what all my work revolves around.
Q. So I reread SP and I realised there was all this symbolism. Blew my Frikkin mind. I just wanted to ask, were you intending on writing some goofball comics, or was the heart from Lost at sea and finest hour, there all along?
A. yes
i mean, yes, there was a plan and there was a heart all along
Q. When you first wrote/drew SP Vol.1, Did you know it was going to take 5 more books. And if so, at what point of Vol.1 did you think, this is a good place to stop?
A. yes, i mean, yes it was going to be somewhere from 4-7 books long when I pitched the series to Oni Press, and I quickly settled on 6 books.
i don’t know if you noticed, but Scott Pilgrim Vol 1 ends at a very specific point, where Scott has just fought Ramona’s first evil ex and learned about the rest of them. that’s the launching point for the rest of the story, so i thought it was a good place to end the first book.
- Becky Cloonan added another image from Wolves:
- Peter Nguyen added a sketch from C2E2:
- Brian Wood chats with Hero Complex about the Massive:
HC: You made your first mark in comics 15 years ago with “Channel Zero,” another story about a desperate future although that one was more about posed by leaders and law. If you think of yourself then and now, what do you see as the biggest change?
BW: That book, “Channel Zero,” was an art school project made by a passionate and angry kid with no tact or subtleness. I don’t say that to demean the work – the book is meant to have that sort of message. But now, 15 years later, I’ve learned to be tactful, evenhanded, and really subtle. But its subtlety that still has a razor edge when it needs one.
HC: Of the characters we’ll meet in “The Massive,” which one is closest to you in voice, view or temperament?
BW: I often find myself, usually unconsciously, putting myself into the female leads, but in this case its Callum Israel, the main character, captain of the ship, and the guy that provides the moral story line, such as it is. It’s hard to explain how and why without giving too much away ahead of time, but I think I can relate to his age and his ongoing struggle to hold onto his identity in a changing world. I have a reputation for writing young, cool characters and “The Massive” is the first, of many I’m sure, characters I’m creating that are my age or older.
HC: There’s been so much post-apocalyptic fiction in recent years and wonder whether it’s because we are so anxious in an age when technology has advanced so far while ethics have not — intelligence run rampant, wisdom withering. Then part of me thinks that maybe it’s just a way for storytellers to find a wild frontier now that the western is gone…
BW: It’s certainly a rich genre for writers to tap into, and there is a real coolness factor to it. But for me what drives me to it is fear. Meaning, actual tangible, real-life fear, mostly as a dad of two little kids. I believe hard times are coming, and maybe I’ll grow old and die before it hits, but I bet my kids won’t, and it’s tough to think about the reality that they’ll probably not have enough free water to drink, or will suffer in some other way like that. Will they be able to spend time in the sun? For their entire lives they’ve lived in an America at war — ones of its own choosing. Will they never know a different America? Maybe I’m exorcising demons in writing about this. But maybe I just can’t stop thinking about it.
- Coleen Coover does Chew for the Sindiecate:
- Mike Allred teases a new project:
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