Blessed Nerd Interview with 'Cursed Pirate Girl's Jeremy Bastian...

Jeremy Bastian

Folks...Jeremy Bastian's highly unconventional but still, so damn intricate and unique. We had to get some thoughts from him...his ingenious work speaks volumes for itself and he's got a lot of insight to shed so I'd just let the grandmaster do his talking...

CBNAH: What got you into comics and drawing/sketching as a career?

JB: Drawing is the one thing I've ever been able to do well.  And the one thing I love to do more than anything.  My father always told me "if you can make a career out of the thing you love to do, you'll be the happiest person in the world".  I started reading comics probably with The New Mutants back when they started in 1983, then I jumped to The Saga of the Swamp Thing - this was when John Totleben was illustrating Alan Moore stories.  It just escalates from there, Arthur Adams X-Men, Silvestri X-Men, Neal Adams Batman, Bill Sienkiewicz Stray Toasters (not to mention my first intro to him on The New Mutants: Demon Bear Saga), Mignola Hellboy, Gianni Monstermen and Guy Davis Marquis all being important artistic benchmarks that helped me understand the beauty of the medium.  

I knew from the very start that that's what I needed to do, to draw comics.  It was the coolest career path I could think of, so ever since that realization I've been constantly trying to improve my skills to be able to compete in such an intense industry.

'Ye Old Lore of Yore'

CBNAH: How did you break into the field and were your family supportive of your dreams?

JB: I started going to shows and showing artists my work asking for critiques and that led to spending hours in portfolio review lines in San Diego waiting to get reviewed by editors.  I listened to everything they had to say, because my work was never sacred, I knew if I wanted a job in comics I had to improve on so many levels.  I had to become as good as any book on the comic stand.  

All the while my parents were becoming more and more supportive of my career designs, they could see how focused I was and how determined I was to be better.  They drove me to all those first conventions and would even talk with artists asking them tips to help me along.  I eventually came up with my own story and self-published it and took it around to different publishers and it found it's way into just the right hands and was picked up and published through Olympian Publishing.  

Cursed Pirate Girl was not my first book, the first two books I did were Phantom Corp. and a collaboration project with David Petersen (the creator of Mouse Guard) called 'Ye Ol Lore Of Yore'.  As much as I loved Phantom Corp. it just didn't have the grab I thought it would and so I changed tracks.  I created something a little more personal but for a broader audience. 


CBNAH: What were your favorite memories from the books you did or sketches and conventions you impacted on?

JB: My favorite memories of the book are those little moments like the swordfish bros. or the very dangerous potato or the turkey head in a cart.  Places that called for a character and I pushed it to the limits of strange.  When it comes to conventions, my favorite memories are meeting my artistic heroes and finding that they like what I do.  They even remember my name at the different conventions I set up at and ask me how the work is going.  That just floors me every time.


CBNAH: Do you ever see yourself having a lengthy run at one of the big 2 aka Marvel or DC?

JB: No.  There's no way.  I'm waaaaaaay too slow. Maybe an individual issue, or small story arc that I could work on at my leisure, but nothing that they would need on schedule.  


CBNAH: Can you describe your creative process of materializing the visuals from a script?

JB: It starts with the original image that comes into my head when I was writing the script, then I thumbnail it out, and then rough it out at actual size.  Sometimes the original size rough comes very easily, usually the first time I draw it, but mostly it takes many tries at getting the character or scene just cool enough.  

And then other times I'll have to come back the next day and give it a fresh look, sometimes it can be pushed a little more creatively.  That's when I have the most fun, when I draw one thing and think to myself- "this could be so much better", and then I keep going until it is.


CBNAH: Some of your artistic influences?

JB: I've already listed a bunch of my comic book artistic influences, I'll just list some others instead of talk about how much they influence me because I love a lot of artists and this article would become way too long. William Hogarth, Hendrik Goltzius, Albrect Durer, Thomas Rowlandson, Walter Crane, H.J. Ford, Aubrey Beardsley, Harry Clarke, Sidney Sime, Heinrick Kley, Kay Nielsen, Arthur Rackham, Edmund Dulac, Gustave Dore, Brian Froud, Yoshitaka Amano, Andrej Dugin, Olga Dugina, Gennady Spirin, Tony DiTerlizzi, Alan Aldridge, Windsor McKay, Vania Zouravliov, K.Y. Craft, James Christensen and Aaron Horkey.

'Cursed Pirate Girl'

CBNAH: How has the CURSED PIRATE GIRL title been treating you as it's quite a fun title?

JB: It was one of those names that is so simple that you read it and think "oh really... so what?", kind of like the Punisher.  When I first encountered the Punisher I thought to myself "ooh, he's the Punisher, he punishes people, how intimidating".  But the more times you read it or say it it becomes linked to the image of "the Punisher" and all that is associated with him.  Guns, knives, skulls, explosions, blood, etc.  

I'd like people to imagine wooden sculptures of arcane-looking fish decorated with gold embellishments with little jolly rogers sculpted into them, possibly with barnacles covering some of the wood and cracks running along the side.  Like a pinata from the 1800s and when it is opened bones and treasure will fall out, maybe a crab or two as well.


CBNAH: What's the favorite thing about being a sketcher and artist for a living?

JB: Well the question answers itself.  You get to sketch for a living.  I mean come on, pretty much the only thing better would be to have sex for a living and that isn't something you really share with your parents.  :)  I get to create really weird things from my imagination and exchange them for money.  


CBNAH: Best advice you ever got?

JB: The Iron Fist and All-Star Squadron artist Arvell Jones told me in a comic book workshop to "have fun, get into the character", he said this as he was climbing onto a chair and acting out a fight scene.  I'll never forget that.  

 The second thing I won't forget was in a Hall H panel starring Quentin Tarantino and Robert Rodriguez about their Grind House collaboration.  An audience member asked advice on how to get into the filming biz and at the end of the reply Quentin just blurted out "...or just make a really bad-ass movie".  And I've tried to apply that to making a comic, to put all I can into it, to make it as bad-ass as possible.


CBNAH: How has the digital age impacted on comics for you and your work?

JB: Still trying to figure out the best way to do it, unless we can get an app or something that allows one to zoom into the art, it will be quite difficult for a viewer (especially a viewer who is reading comics on their phone) to be able to see all the information I try to pack into each panel.  I really created this book so that you wanted it on a shelf.  

I'm a little old fashioned I know, but I really like being able to hold a physical book and I like the craftsmanship that goes into making books.  I really like different kinds of paper, I like the tactile sensation of turning the page, the smell of old books the whole printing process.  I've constructed books using chip board, glue, fabric, and so many other ingredients, it's an art-form in itself.  


CBNAH: What would you like to see happen to the industry over the next two years?

JB: I think just to see the audience grow would be good enough.  I'm glad to see so many independent books out there.  Comics aren't just about capes and cowls, it really is its own art form and I think more people are slowly starting to realize that.  They realize it in other countries and I think that is because they don't hold to the paradigm of the super hero.  There are beautiful personal stories out there challenging the perception of what this medium is all about.


CBNAH: Do you think Kickstarter is going to change the way that indie comics, music etc are put out? Do you see this as the biggest revolution for creators in some time and are you gonna be delving into it anytime soon?

JB: Yes, I think Kickstarter has changed the game.  I have already seen some major names in the industry put up projects on KS and get them backed, it takes out all the middlemen.  An artist can fund their project by basically taking pre-orders and not only be able to fill those orders but then be able to afford more product they can take to shows or even try to get them into stores themselves.  This is a very exciting time for the indie artist or writer, they can achieve the first victory along the path of becoming a professional in the comic world, getting published.    


CBNAH: If you weren't doing art, what would you be doing?

JB: I'd probably have a good stable job with a lot of security and insurance and it would be dull and I'd have to find many hobbies to get me through the weeks of monotonous repetition.  Or I'd be a musician.


CBNAH: Dream book you'd like to work on and with whom?

JB: The one book I've always wanted to work on is Swamp Thing, I really love drawing organic things most and I really enjoy how creepy Swamp Thing books can get.  My favorite arc from Alan Moore and John Totleben was the underwater vampire story.  Soooooo creepy!  It was awesome.  Another factor is that I don't think my style would benefit many titles.  Do you think Neil Gaiman has a Swamp Thing story in him he needs an artist for?

Order 'Cursed Pirate Girl'

CBNAH: Advice for upcoming writers and artists?

JB: If you're upcoming then you're not there yet.  Listen to criticism, know that you have to improve, don't take it personal and don't get defensive.  If you're really intent on becoming a professional you'll look at your work as constantly "in progress".  And until you can pick up a copy of Batman and honestly say to yourself "I'm this good", you'll never work for DC.  


CBNAH: LASTLY, finish this - comic book nerds are hot because _______?

JB: They're full of imagination and far from mundane.  Normal people suck.

Interview: Adam Beechen!

Animation and comic scribe Adam Beechen has worked on such franchises as Batman, Justice League, Teen Titans, Rugrats and Ben 10. Renaldo had a chat with him about Batman Beyond and more!

Batman Beyond #1

CBNAH: I watched the cartoon religiously so I must ask - how challenging was it to take this cult-favorite, Batman Beyond, and its revered world and scribe it? What was the pressure like knowing fanboys like me never wanted it off the air?

AB: There's pressure taking over any existing character.  After all, every character is someone's favorite.  But in this case, the pressure was extra high because I'm such a fan of Batman Beyond as well, and the animated series was done so brilliantly, I really wanted to try and live up to the standard that had been set.  I know Batman Beyond's passionate fans wouldn't accept anything less, so I can only hope that, for the most part, we've been successful so far.

You touched not only on the evolving relationship with Bruce and Terry but also with key factors of the Bat-Family such as Dick, and even romantic aspects...so I ask...how difficult is it arranging and plotting air time for such a unique cast?

It's tough.  There's so much to explore, and relatively few pages in which to do it all.  So we try and find storylines when possible within which many of characters can interact.  In 10,000 Clowns, for example, it's logical that the story would affect almost everyone in our cast.

Did the animated RETURN OF THE JOKER influence your arcs?

Sure, absolutely.  A lot of what we're doing is exploring whether or not Terry really wants this path for his life.  ROJ showed him one of the things that can happen to someone who's traveled his path, and it affects his thinking.   

The epilogue episode where Terry's genetics are revealed to be that of Bruce's...how instrumental has that been as you charted the title?

Extremely.  We know that's a point in Terry's future.  So we create our stories, which take place before that, with "Epilogue" in mind.  We know things lead there, so we steer our ship toward it, however far ahead it may be. 

What was it like writing the JLA in this world?

Great fun!  There's a lot about those characters we still don't know, so any chance to develop them further is exciting. I think Derek Fridolfs and Dustin Nguyen have been doing a terrific job with those characters in their Justice League Beyond segments.

I love Teen Titans, the Batman and Rugrats...so how you make the transition from books to tv and vice versa? i.e. your creative process

I find it pretty different.  Comics scripts for me tend to be a lot more detailed, as you're describing every panel for the artist.  In animation, you do some "directing on the page," but it's looser, more of a framework for the artists to work in.  That doesn't mean comics scripts aren't flexible, but to start with, you want a pretty detailed description of what you're seeing in your head down in the document. 

From Batgirl to Animal Man to Countdown...how has it been writing at DC? What's your favorite title you worked on?

I've loved every minute of writing for DC.  What lifelong fanboy wouldn't feel the same?  DC's been very supportive of me, and let me work with a lot of their characters.  I'm more personally invested in Batman Beyond than I have been in any other book so far, because DC's given me so much rein to explore the world, but probably the most pure fun I've had at DC was writing Justice League Unlimited, in which I could spotlight one hero, or a couple heroes, each month that wouldn't normally get a lot of exposure.  And because it was outside the DCU continuity, there were fewer restrictions on the stories I could tell. 

HENCH

How did you break into writing comics?

I'd been writing animation for some time, including shows about DC characters, so I was kind of on DC's radar.  My good friend Larry Young offered me the chance to write a graphic novel for his imprint, AiT/PlanetLar, so I did (That was called HENCH, and it's available now HERE).  On a visit to New York, I connected with an old college friend, Ivan Cohen, who was an editor at DC at the time, and he gave me a tour and introduced me around.  From that, and with my animation work and graphic novel as calling cards, I got the chance to pitch to the Teen Titans Go comic, and everything rolled from there!

Dream book and artist?

I would love to have written an Aquaman comic drawn by the late, great, Jim Aparo. 

What are you doing with your journalism degree? :) I ask this as I love journalism!

I use my degree every day, as journalism taught me a lot about how to communicate ideas clearly and directly, how to strip away unnecessary detail and information and get right to the heart of what's important in a story. 

Advice to aspiring writers?

ABW:  Always Be Writing.  The more you do it, the better you get.  Find people whose opinions you trust, and show them your work.  Take criticism gracefully and not personally.  If you don't agree with a note, fine, but at least try to understand why your reader tripped when they did, and think objectively if you can't make that moment or story point better. 

Lastly, finish this - 'Comic book nerds are hot because...'

Because they're passionate and creative! 

CBNAH Interview: Alina Urusov

Birds of Prey #6

27 year-old, Alina Urusov, embodies the strong-willed and crafty female presence in the comic industry today. Fans are familiar with the ‘male’ aspect of ‘geek and nerd’ culture but this Russian native’s expansive resume consists of deft interior and elegant covers for many top companies. Urusov has cut her teeth on books such as ‘NYX’, ‘X-Force’ and ‘Young Avengers’ at Marvel while sculpting further magic on DC’s ‘Birds of Prey’. Now residing in Canada, she has also etched her name into Top Cow’s ‘Witchblade’.

“I was always encouraged to draw because my parents dabbled in art. I also had many well-illustrated children’s books from the masters of the past as well as from Russia and I attended an art-specialized high school where I practiced oil painting. But for post-secondary studies, I chose animation. I’m mostly self-taught in illustration, which is much less complicated to learn than 3-D animation” she stated. Urusov varies her sketches from oils to Photoshop to keep her outreach as diverse as possible. Regarding the presence of female creators in the business today, she elaborated, “The artists at conventions are mostly guys. I think if female creators work hard and are dedicated, there should be no problem getting into the comic industry. I know there are a lot of talented women out there and I think that they should be encouraged to show it.” Urusov admitted that there were more females doing independent work than working at bigger entities such as Marvel and DC but she expressed optimism for upcoming talent.  Urusov added that it was a renaissance with women in art thriving globally and the gender barriers broken down with the Internet’s advent.

The talented penciller admitted that her fascination with supernatural elements in the real-world helped her refine her skill. She also lauded the guile needed in juxtaposing unmarried or unconventional concepts into stories for comics. She expressed immense passion for this medium but conferred, “I'd really just love to see more of a movie industry develop in comics - where any kind of story can be told. That's already the case with indie comics but I would like for more things to be explored. I personally like the combination of real elements of life with the supernatural, or any juxtaposition of previously unmarried concepts really. I think I want more surrealism too, please.”

NYX: NoWay Home #1

She revealed that drawing covers proved most enjoyable as they allowed her to hone her versatility as well as explore new methodologies in art. This also helped conserve time spent sketching. On breaking into the industry, the virtuoso artist revealed it was not difficult due to her affiliations. “I just got introduced to people in the industry (easily) and got jobs. Before that, I spent two years making art for myself but not for a portfolio. I think portfolios shouldn’t be the goal, the goal should be to enjoy the art you make and the process, and maybe then others will enjoy it too. Art is for enjoyment and shouldn’t be thought of seriously. That’s sometimes hard to remember when you work so hard,” she divulged.

She confessed that editors usually gave her free rein in creating covers so that she submits more portraits than required before the team decides on the final one.  Urusov also expounded on her creative process – “I have to become an expert in my drawings. I appreciate the aesthetic of real functionality so I gather my references and then for sequentials, I do quick thumbnails and layout in Photoshop. I draw the inks on paper and colour here. I won’t necessarily stick with this format for every case. It’s nice to have a familiar format but it’s also interesting to experiment with styles and mediums.” She stated that challenging and tight deadlines were tedious but they helped her make confident and decisive artistic decisions – “I think most of the time the editors already have an idea of what they want for covers but it's up to me to give it flesh. So I send a bunch of preliminary sketch ideas, usually far too many, and they pick one and I craft that one out the way I do sequentials.”

Sequential comic art tallies hectic schedules for Urusov and placed more duress on her during her DC and Marvel stints. “I do the best job I can and if the editors are okay with my pace, that’s great, and if not then I am sure some really fast artists will get a great job. But most editors are gracious and they understand I am trying to raise it up a notch if I can. For me it's gratifying to know I didn't spend all this time on something that is just 'ok' and that people enjoy the art. For covers there is enough time (unless you are working two jobs or are a student simultaneously), but for sequentials it's pretty tight, especially because I like to do things properly and I work better under less stress,” she professed.




She heaped plaudits on technology and the digital age with reference made to cameras. She believes such devices allowed capturing pivotal moments and essences of Life. However, she remains wary that such tools can hinder the mind’s ability to cultivate scenes and elements from scratch. She is focused on commission work at present after finishing ‘Blue Bloods’, which is a 110-page graphic novel.  “I just finished work on "Blue Bloods”. So now I can focus on commissions for a while,” she said.

 

Topcow Holiday Special, 2010

“Some people say, ‘I wish I could be an artist’ but they don’t know that they can! Anybody can do it if you care enough and just try it. Don’t worry about getting into the industry so much as doing a good job that you are satisfied with. If you’re already in there, do your best and have a critical eye about your own work, be optimistic about your ability to improve,” she also offered. Expanding on her influences, Urusov commented, “Well I mentioned my parents could paint back in the day, and my mom has a very critical eye which helped me learn to look at things objectively, and I really like art that has a strong line, or a witty combination of any elements. Claire Wendling and Joshua Middleton were my main influences when I first started comic drawing.”



As for the digital era, she relayed sage insight to aspiring artists. “I can record anything I see for later use with my camera- that's fantastic- but I also think it sort of made the development of drawing skills not as necessary. But when you record things with a pencil, it creates a strange kind of peace with the world and your circumstance so it shouldn't be neglected,” she stated. Urusov shared rare information as to her favorite and daunting aspect of the business also – “Covers are definitely more enjoyable because they don't take as much time to make, and you can move on and hop onto a different style wagon and try something new. I liked the last NYX cover because I got to try oils instead of photoshop. I also like drawing characters in action like the first Birds of Prey cover. The most challenging thing is the deadlines, but they push you to make quick decisions with confidence. Without them not a whole lot would get done I suppose.”

In ending I asked…why are comic book nerds hot? Her response – “They wear spandex and don't care what other people think. Those people who dress up as supers to fight crime for real are especially intriguing!”

CBNAH Interview: Yildiray Cinar

Turkish artist Yildiray Cinar is one of the flagship pencillers at DC Comics today. Cinar is set for a stint on Earth-2 from January 2013, which features alternate versions of Green Lantern and Flash as they connect to the rest of the DC Universe. The book has garnered much attention as it boasts a gay Green Lantern, Alan Scott, as writer James Robinson, famed for his Superman titles, utilizes Cinar to bring his visions to life.

CBNAH: 'Kid Havoc': Kicks Back...

KID HAVOC ON KICKSTARTER

Renaldo continues his interview with Eric Pfeiffer-

1. Elaborate more on the fashion and comics mash-up? - 

The fashion side of the project is meant to be as vital to the story as the comic itself. The story is told in its entirety through the issues so you could read through all of the trade-backs and not feel like you were missing anything. However, since the issues are released every other month we are releasing limited runs of clothes in between those months that actually foreshadow what is to happen in the next issue. These moments of foreshadowing are seen through the artwork featured on the clothes as well as the actual design of the clothes. For instance the jacket you may be wearing could play a vital part in a characters design that has yet to be introduced.

2. Influences? w.r.t. art, music, family etc -

I have so many influences it’s hard to name them off. I acquire at least a few new ones every day. I’m in to all the classics, Otomo, Crepax, Moebius, Toppi and the more contemporary artists like Fabio Moon and Gabriel Ba, Paul Pope, Guy Davis, Asaf and Tomer Hanuka, Becky Cloonan, Mike Mignola. Just met Ron Wimberly the other day, the creator of Prince of Cats, and I have to say that guy is quickly climbing to the top of my inspiration list. Plus he’s cool as shit, which is always refreshing. There’s no room for ego in comics. Besides comic influences music plays a huge role as well. I make a playlist for each character I’m creating to play through whenever I’m drawing their scenes. I try not to spend too much time on each panel to force out a fair amount of confidence behind my marks and I find that the right music for the scene really helps project that confidence onto the page.

3. How's the backing of your friends and family on your art career and what do you draw/paint apart from comics? - 

Like I said before my friends have been an incredible and an essential part of everything that I do. My family has been especially supportive. I owe them everything. Both of my parents are artists and extremely hard working. So if my little brother actually. Growing up surrounded by that pressure to succeed and creative energy is vital to being a successful artist.

4. Do you think you can innovate and penetrate markets outside US such as Caribbean and Europe etc and how would you plan on doing this? -

I definitely hope so. I think websites like Kickstarter have already opened those doors a great deal. We’ve been receiving a quite a few pledges from people all over the world with our Kid Havoc Kickstarter campaign and I really hope that they keep reading. It’s really an incredible feeling to know that you’re reaching people all over the world. These social avenues have opened up so much opportunity in the world and we share so much of a common interest. It’s really fascinating to me.

5. Finally, what's the end-game that you guys envision for Kid Havoc? -

I want to tell the story of Kid Havoc as long as I can, or as long as I see fit. The great thing about Kid Havoc is that the business structure we’ve set up with the clothing line allows us the luxury of taking our time with telling the story. I really want to be able to dive into some deep secrets with Kid Havoc and offer readers something vast and deep to dive into. I would also love to be able to have a studio that Fern and I could work in and be able to collaborate in person. Right now she works out of LA and I’m based in Richmond. We work really well together with the distance, maybe the space helps, but I’m really curious to see what would come out if we could operate Kid Havoc from the same space. Maybe we could even have a small storefront/gallery in another room with a cool receptionist like the one from Ghostbusters. Time will tell.

CBNAH: We Kick It With Kickstarter and 'Kid Havoc'...

'Kid Havoc' on Kickstarter

Kid Havoc tells of a boy trapped in a world torn by social hierarchy as he's forced to live underground with the rest of his people - deemed unworthy by the Monarchy to live on the surface. In this tale of caste, the boy, Isaac, finds himself torn between youthful curiosities of chasing fireflies through streets and tunnels, and between the social war that keeps his people oppressed and underground. As the war continues, a secret press develops under the name Kid Havoc to spill propaganda to overthrow the Monarchy. While it is up to Isaac to find his way to the top layer to spread their propaganda in this political yet emotional tale, he battles with his child-like sense of curiosity and follows these fireflies deep beneath their city...only to uncover an ancient horror that will change the course of the war!

Yeah…that blew my mind away. Throw that concept in with the amazing art of indie-artist, Eric Scott Pfeiffer, and a novel ideal called 'fashion'...And there you have it...KID HAVOC! It's a comic series and clothing company created by Eric, a freelance illustrator based in Richmond, VA and Fernanda Chavez, a freelance fashion designer based in Los Angeles, CA. They tell an immersive story intricately spun through a series of comics and limited clothing lines. All items are designed and inspired from elements within the story and all artwork is pulled from the next issue so that the apparel will act as a teaser, or sneak peak, into what will happen next in Kid Havoc. Since the characters progress through the story, the clothing will progress alongside them, changing and adapting to the character's new surroundings. Issues will be released bi-monthly with small runs of clothing released in-between giving insight into what will happen next in the storyline.

KID HAVOC KICKSTARTER PROMO

Here’s my interview with Eric, the talented –

1. Can you explain more about Kid Havoc? - 

Kid Havoc is an industries mash-up of comics and fashion. It’s a way for us to merge the storytelling abilities of each unique medium.

2. Why use Kickstarter? As an indie freelancer in the US, is funding that hard to get for projects? - 

I don’t think Kickstarter is just about funding. The fact is we could get funding from other avenues i.e. investors etc, but Kickstarter allows us to build a fan base while simultaneously gathering funds to start our project. With this system you know before you launch that you have a solid customer base to start with. Plus, what you owe them in return is a good, honest product and not just money with interest tied to it.

3. What inspired you and your team to go on a comic line and a fashion route? - 

Right now the team is just Fernanda Chavez and I. We freelanced together in the past for a defunct clothing company. Through the years Fern gathered the skills and connections necessary to start her own line. When she asked me to produce artwork for her line I pitched her idea of what is now Kid Havoc. At the time it was a little different. I think we wanted to produce two sides of the same story told through a men’s line and women’s line, each with their own comics.

4. Could you elaborate on the fashion part of this? – 

The fashion side of the project is meant to be as vital to the story as the comic itself. The story is told in its entirety through the issues so you could read through all of the trade-backs and not feel like you were missing anything. However, since the issues are released every other month we are releasing limited runs of clothes in between those months that actually foreshadow what is to happen in the next issue. These moments of foreshadowing are seen through the artwork featured on the clothes as well as the actual design of the clothes. For instance the jacket you may be wearing could play a vital part in a characters design that has yet to be introduced.

5. How's the art scene in Richmond? -

Incredible. There’s really something fundamentally different about having so many talented and professional artists in such a small city. You can walk into one of the best comic shops on the east coast and see one of the greatest working illustrators and one of the best indie publishers browsing comics and not think twice about it. There’s a community surrounding these tight-knit groups in such a small atmosphere that creates a healthy competition as well as a strong support system. With Kid Havoc I’ve benefited from this first hand. I’m not lying when I say I seriously could not have done any of this without my friends in Richmond.

-Interviewer, Renaldo Matadeen

Renaldo's Reviews: Revival, Spike, Mind the Gap and More!

Revival #3 –
Tim Seeley continues to weave a bewildering yet thoroughly engaging story that further asks questions on why the resurrections have occurred. There are teases of ‘antagonists’ while leaving enough room for the complexity of human nature and emotion to be extricated from the diverse cast. The assorted crew in the book is given ample screen-time and it’s nice that the title isn’t hinged on just one or two folks. Mike Norton’s artistic vision complements the plot well and it’s such a perfectly-structured and cohesive read, you want more…and more. (9/10)
 
Spike: A Dark Place #2 –
Victor Gischler has shown he has a great handle on Marvel’s vampires and I’d love him writing Morbius or Blade, but the story of Spike tossed into space and battling aliens with mundane vendettas isn’t his forte. Paul Lee’s pencils are good enough but the same can’t be said for the story. It’s lacking momentum and gusto…as Spike runs into ticked-off haters…and Black Widow? It’s a bunch of random appearances and deus ex machinas that never lend to a stable plot. Spike has more to offer than being Buffy’s rebound or being space-fodder, and here, there’s no chance they are going to harvest or harness the proper stories that are potentially there. Dropping this title…now! (3/10)
 
Ghost #0 –
Kelly Sue Deconnick cuts loose here to great effect. It’s a neat and nifty mystery with a gruff cast and illustrated by the ever-sublime Phil Noto. When a ghost randomly appears and finds herself in much more trouble than intended, you’d never see the ramifications coming for a couple real-world gents stuck in bore and poverty. It’s a nice chemistry in the cast that surely makes for brilliant exposition, and given Deconnick’s elevation in the past year, I can see some concepts strewn here that could well make for something as spectacular and wondrous…much akin to ‘Mind the Gap. (9/10)
 
Mind the Gap #5 –
The best issue thus far. It’s really taking turns in all the right directions…and Jim McCann raises it up a notch. With a stellar issue and a lot of dramatic twists and turns, it’s merely a formality to see Esquejo’s versatility in the book’s art. I really couldn’t find anything off here. It’s a perfect issue and McCann continues to show his craftiness by leaving Elle out the issue and simply reverberating conniving consequence after consequence within the cast. He paints scenes of duplicity well…and with so many questions arising, the suspense is even more built for issue 6. It’s remarkable how better this book is getting. (10/10)
 
Star Wars: Darth Vader and the Ghost Prison #5 –

The series wraps nicely here as we see how ruthless and cunning Vader is. He ushers his aide, Tohm, through the paces as they end the insurgence and uprising within the Sith ranks. It’s a treacherous attempt to rid the Empire of Palpatine and Vader, and it’s neatly orchestrated until Vader brings the heat in the finale. Haden Blackman’s script and Agustin Alessio’s art are in sync as they relay a climax worthy of applause. This is how the Sith roll…and the ending shows how doomed the Jedi were really meant to be. (10/10)

Renaldo's Reviews: Manhattan Projects, Hoax Hunters, Conan and More!

Conan #8 –
Brian Wood continues to weave his magic as Conan and Belit search Cimmeria for an impostor carving murder in Conan’s name. It’s not an issue with surges of violence but it portrays the tactical search that Conan struggles to perform with Belit by his side. Wood lets the viewer feel the chasm in the romance as stresses and strains encompass Belit in Conan’s native land. Conan has a choice to make to catch his doppelganger a bit faster but it’s sure to come with dire consequences. There’s a nice setup for next issue’s showdown as Wood excels as usual. He brings his A-game although Becky Cloonan was off-duty and allowed Vasilis Lolos on art. Not as good as Cloonan, but it suffices. (10/10)
 
The Creep #1 –
John Arcudi’s script doesn’t flow as well as the zero-issue but with Oxel investigating a suicide close to home, it’s a nice story that takes its toll on human emotion to the bone…given the topic. There’s a nice sense of empathy that Oxel embeds into the story given his ‘disorder’ personally but through all society’s drivel, there’s a nice tinge of endearment and heart brought to the page by Oxel. The undertone is steeped in depression and Jon Case’s art is just the rough and perfect visual element needed for this story. It continues to intrigue in all the right ways. (9/10)
 
The Victories #2 –
There’s a lot of Watchmen thrown in here with a contemporary twist. Mike Oeming’s second issue propels itself marvelously in the wake of a pretty daft debut issue. The opener wasn’t that terrible but the follow-up here not only lights itself up on the plot, but Oeming’s art sparkles in every corner. Faustus and his team go on their violent drug-busts, while stitching the usual sexcapades and drunken stupor into their nightly routine, until a psychic called Link, throws a serious wheel in the spanner. Add Link’s cavorting in prison to a sworn enemy called the Jackal…and there’s some brilliance igniting here. Revenge is on the horizon and the hype has finally come abound on this title. (9/10)
 
Hoax Hunters #3 –
The first couple issues seemed to ramble about in a mediocre fashion, which didn’t set well with me as the premise of a reality TV show disproving the existence of the supernatural element when it in fact, did exist, proved really fun a concept. After sluggishly starting, the pace from Mike Morecci and Steve Seeley picks up well here, with the team, especially it’s brute and leader, Jack, now realizing a common threat exists…in the worst manner. Sensing an impending apocalypse, Lawson’s team comes up against powerful vagabonds and ragtag powers-that-be, which not only traverse Earth…but into other universes as well. There’s quirky yet well-placed lore in the story that traipse around a secret society hellbent on destruction…and Axel Medellin’s art is something that’s nicely acclimated to my eyes by now. This is the epic yet brilliant shock of the week for me… (10/10)
 
Orchid #9 –
There’s peril facing Orchid’s rebellion as Opal’s death spurs her on to kill the dictator and oppressor, Wolfe. Granted that she’s driven by revenge, it’s a more violent and dark spin on a heroine a la Luke Skywalker. Scott Hepburn’s embellished pages are a sight for sore eyes, and with Morello’s script, as high-octane as ever…it’s a fun ride to see Orchid grow from rabid prostitute to the revolt’s leader. It sets up a nice finale and hopefully, the pay-off’s gonna be major fun. The ride thus far has been nothing short of exhilarating. (9/10)
 
Manhattan Projects #6 –

As Einstein and Oppenheimer tear through the potentials of dimensional space-bridges, Hickman leaves the reader shuddering with the fear that these men, who become monsters, spill. It’s science, never exact, but totally fear-inducing. It’s terrorism…a subterranean means to an end in the human mind of the scientist. Nazis, rocket science, space threats…and unholy unions are all some of Hickman’s nifty little tools that Nick Pitarra does so well to draw. The book looks good, it’s high-concept and fun in its own evil intellect and intent, and with the possibilities presented, Hickman no doubt loves that spiraling world war feel to his story. There are a lot of arcs that entwine so well here…and it’s typical Hickman…at his best. (10/10)

Renaldo's Reviews: Think Tank, Harvest, Mind the Gap and More!

Harvest #2 –
Ben finds himself the equivalent of a mercenary doctor on the black market as he tries to get off rock bottom. AJ Lieberman’s script is pretty succinct and dark as it needs to be when decorated by Colin Lorimer’s scrappy but strikingly effective pencils. It’s a gruesome and intuitive take on this societal ill that sees Dane’s thirst for money taken aback by his guilty conscience. Throw in a femme fatale and this continues to be one of the best titles out. It’s young and fresh…just like the organs inside. (10/10)
 
Think Tank #2 –
If you’re a fan of Hickman’s work, especially FF4, Secret and Manhattan Projects, then you’re missing out on one of the most intelligent books out there. It’s filled with something more than conspiracy and war. It’s science, while incorporating the aforementioned. The genius of a certain American scientist proves too much for a military hungry to slave him out to make WMDs and it’s up to Loren and his beft friend, Mannish, to figure their way out of servitude. It’s witty and pretty eclectic in its uncoloured pages by Rahsan Ekedal, but throw in his amazing art and the brilliance of Hawkins, you find that Einstein indeed has a son in comics…and here’s where we find that brain. This is near-perfect a comic. (10/10)
 
Thieve of Thieves #8-
James Asmus expounds on Kirkman’s story about a master thief who continues to elude the authorities and every time it seems he’s cornered, he pulls a new trick out his sleeve. Until he loses the George Clooney suave and all his aces, it seems that the book really can’t keep the antagonist down. Throw in complicated romances and the need to placate families during their most desperate times, and you’d see that even the nastiest thief has the softest spot for those closest to him. It’s duplicity, it’s revenge…and Shawn Martinbrough’s art continues to keep the title steeped in excellence. It isn’t missing a beat…and the stakes just got higher for the starring cast. How far is too far you’d ask! (8/10)
 
Epic Kill #5 –
Raff Ienco’s pencils may be slightly more attractive than his story here but when you have such a weak story, it isn’t saying much. It’s akin to him ripping off Fox from the Wanted film…and all hopes for originality are exclaimed as shattered. The pace and story is one of the most tedious and dragged out affairs I read in some time and while hoping for a grand climax, the finale is pretty bland. Ienco’s story lacks a cohesiveness and fluidity as it tries to build on a simple assassination…but there’s a class and culture lacking throughout. I expect better. (5/10)
 
Mind the Gap #4 –

While issue 3 threw me off a bit, the pace that Jim McCann lacked before, it’s ramped highly here and the final page shows why this book keeps being a hit. In its own mental complexity, Elle shines in a comatose state as she never loses the human edge. While she’s in astral panic, Rodin Esquejo keeps on delivering some breathtaking artwork that pinpoints suspect from panel to panel. The intrigue factor is high and with more details coming to light on Elle’s attack, it’s all about how this brilliant story unfolds in the gleam of exquisite art. It’s a beautiful comic…and then some. (10/10)