Bryan Lee O'Malley gifts us with a Ramona:
Brian Wood shares the cover for The Massive #6:
Jeff Smith gives an interview to Nerdist about RASL, Bone and heaps more:
N: Was it always the plan to write Bone as one long, 1300-page story? Or did that become apparent as you continued writing?
JS: Yes, it was planned from day one as a single story, with a beginning, middle, and end. I didn’t know if it would be 1,300 pages or 2,000 pages, but from the beginning, my wife Vijaya and I wrote a business plan that included graphic novel collections to keep the early parts of the story in print and always available, because we knew it would be a long one.
N: Your current comic RASL is certainly darker in tone than Bone and has been described as sci-fi noir. What is it about RASL’s story and the noir genre that excites you? Were you eager to write something that wasn’t necessarily “all ages?”
JS: What I like about noir is its restrictions – you can only know what the protagonist knows. That makes for a tightly compacted story that moves at a quick pace. And it’s a challenge from a writing standpoint. Noir is about the human condition, and maybe that’s where I’m at in this stage of my life. When I first started thinking seriously about RASL back in 2000, I was still writing Bone mainly for an adult audience, but by the time I actually started drawing RASL, Bone had become a bona fide children’s book, so I was aware that the audiences would be different. But RASL‘s tale was the story I wanted to tell, so that’s the path I had to follow.
N: Do you approach writing RASL in the same way you approached writing Bone? What is your writing process like? Will it eventually be collected in a one-volume edition too?
JS: A RASL One Volume Edition will come, but I have special plans for it, and I’ll announce something next year. The process is no different: I outline, plan, then dive into the breach to see what happens. Bone was a story about innocents under siege. RASL is about damaged people. Where Bone breathed; RASL is claustrophobic. The important thing when writing comics is to make the thing move and be alive in every panel, and that takes the same concentration no matter what the subject matter.
- Skottie Young does a cover for Mind the Gap:
- Eric Canete gets his Rocketeer on:
- Jeff Parker talks about appropriate implements for fending off ne'er do wells:
One night back in grad school I woke up after hearing the smashing of glass. It didn’t have that sound of an accident. I was renting an apartment that was a third of a house and it seemed to be coming from some other part of the house. I grabbed a crowbar that I had inside for some reason and went out the door, and made my way cautiously around the side of the building.
So far I’d passed most of the house without seeing a broken window or hooligans wearing bandit masks, and then I rounded a corner and ran into the renter from next door, doing the same thing as me. We both verified we heard the noise but hadn’t seen anything, and then looked down at what we were holding. He also had a tool, but it was one of those little utility hammers that have a screwdriver inside and don’t weigh anything. I must have grinned because he immediately defended it- “this was all I could find!”
Really my crowbar wasn’t that great a thing to be carrying to mete out justice either (though it was way better than that silly hammer), it was short- it would put me too close to whoever was breaking into the house, and didn’t have a good feel for swinging, either.
- Dave Johnson unveils his cover to Ultimate X-Men #14:
- Peter Nguyen goes the way of the Bat:
- Michael Oeming gets wet for WhatNot:
- Matteo Scalera and Colleen Coover do Parker, while Jorge Munoz does Li'l Depressed boy, all on the SindieCate:
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