If there's one we thing we should establish from the off, it's that my love for dinosaurs is infinite. There is something inherently fascinating about this whole world that existed before us, the completeness of it: the sheer array of lumbering aquatic, flying, and terrain beasts that roamed the Earth; their power and size, the wonderful shapes, colours, and variations, the mystery of their total obliteration, the fact that we're still discovering more about them today.
So when I learned that UK publishers Nobrow Press had teamed up with cartoonist and illustrator Dustin Harbin to produce one of their gorgeous leporellos, this time focusing on dinosaurs, my excitement levels were pretty damn high.
Spike Trotman is a visionary. She sees possibility where others throw their hands up in defeat. She sees innovation where others see stagnation. She is fundamentally optimistic about the future of comics — and why shouldn't she be? Trotman has conducted massively successful Kickstarters — plural — organized some of the best talent in comics into anthologies like Smut Peddler and The Sleep of Reason, made money-producing Poorcraft (a comic about not having money), and, all the while, maintained Templar, Arizona, her long-running and beloved webcomic.
Comics have been good to Spike Trotman, but her success is very much the result of hard work and fresh thinking rather than chance—hard work that has left her one of the most interesting people in the industry. So, naturally, ComicsAlliance tracked down her booth at San Diego Comic-Con to talk Kickstarter foibles, “porn for chicks,” and a new golden age for comics.
If you were a child in 1990, then you wanted to be a ninja. I actually suspect that this is true for literally every child of every era who has known what a ninja was, but I can really only speak from my own experience, and that experience had a lot to do with the Teenage Mutant Ninja Turtles. There were other ninjas of course, but while Snake-Eyes never really did much on TV and Sho Kusugi required a trip to the video store, the TMNT were swinging katanas and nunchuks around everywhere you looked. They were everything my eight year-old self wanted to be, and since growing a shell proved difficult, ninja training was obviously the next step.
Sadly, I never had a copy of 1986's Teenage Mutant Ninja Turtles Authorized Martial Arts Training Manual, or else I probably would've grown up into a life of silent assassination and smoke-bomb escapes, rather than just sitting in my office making jokes about comic books. But with a new theatrical movie and ninja interest returning to an all-time high, it's worth looking back now, to see if we can't find out a few ninja tricks to apply to our day-to-day lives. Spoiler warning: Unless your day-to-day life involves the proper handling of a sai, we will not.
When discussing the oeuvre of David Lapham, the comic that comes up again and again is obviously Stray Bullets. As great as Stray Bullets is, though, it tends to overshadow the rest of Lapham's body of work rather unfairly in some cases. Despite the several very good comics that Lapham has produced besides his most famous title – including the incomplete Young Liars, the raucous Juice Squeezers, and of course WWF Battlemania – none can match the near-mythic level of quality and reputation of Stray Bullets, and tend to just get left out of the conversation.
The new trade paperback collection of Murder Me Dead, available July 23 from Image Comics, could help change that trend. A dark, stirring, and emotionally manipulative noir about self-destruction, lies, and guilt, it may be the best “other” Lapham comic in his catalog.
This week, Chris and Matt talk about how Robin Rises Omega #1 by Peter Tomasi and Andy Kubert should be great, but falls short, possibly because it's a victim of its own marketing. Then, we talk about how Life With Archie #36 by Paul Kupperberg and Pat & Tim Kennedy is really enjoyable despite some weird tics. Then, we discuss the cool new sci-fi anthology, 2299, edited by Dylan Todd.
By all indications, Dr. Naif Al-Mutawa's comic The 99 is a huge success. It has even inspired an animated series and a series of theme parks. But the series and its creator have also run into some trouble.
In addition to earning criticism from American conservatives, the series has been called blasphemous by some Islamic clerics. They say the comic's core concept of 99 young heroes who reflect the 99 attributes ascribed to Allah in the Quran mocks the Islamic religion. Now, the Iraqi militant group ISIS, which has been systematically taking over cities in the country, is calling for Mutawa to be killed, and has even offered a reward.
Internet privacy is easily one of the most confusing realities of life in the 21st century. It's the best ongoing story in collective awareness, complete with heroes, villains, victims and martyrs, turning points, and insane plot twists that regularly put The Good Wife to shame. PRISM, Wikileaks, Julian Assange, Chelsea Manning, Edward Snowden, XBox One, social engineering, News International, Anonymous, and even our stupid Facebook updates are all involved. Every player and plot-line are all tangled up in a worried knot that gets bigger and more complex every year. It's all one story, and we're all living it; spectators, beneficiaries, victims, and contributors. It's one of the defining issues of our age, a still-forming zeitgeist that could be explored for years to come.
Just not in comics. Because nobody's going to top Brian K. Vaughan, Marcos Martin, and Muntsa Vicente's The Private Eye.
Last week Meags Fitzgerald's new graphic memoir Photobooth: A Biography debuted and completely blew me away. Fitzgerald is an artist who works in a variety of mediums, including improv, comics, and photobooth photography.
Photobooth, published by Condundrum Press, is not just Fizgerald's love letter to the seemingly dying phenomenon of the chemical photobooth. The author intertwines historical information about the creation and evolution of the photobooth with stories about her interactions with them, and how they changed her life. It's a book about a woman who has come to passionately love something so much that it takes over too much of her life -- an idea that should resonate with many readers.
In the overwhelmingly male comic book industry, it has been a challenge for some editors and readers to see the ever growing number of talented women currently trying to make a name for themselves. With that in mind, ComicsAlliance offers Hire This Woman, a recurring feature designed for comics readers as well as editors and other professionals, where we shine the spotlight on a female comics pro on the ascendance. Some of these women will be at the very beginning of their careers, while others will be more experienced but not yet “household names.”
Speedster artist Claire Connelly can complete three-to-five pages per day, so it's no surprise that she's consistently busy with projects like her own webcomic The Last Outpost, Animals with writer Eric Grissom, and The Unauthorized Biography of Winston Churchill: A Documentary with writer Erica Schultz. In addition to being a penciller and inker, she's also a writer, letterer, and painter.
Each week, ComicsAlliance’s Chris Sims and Matt Wilson host the War Rocket Ajax podcast, their online audio venue for interviews with comics creators, reviews of the books of the week, and whatever else they want to talk about. ComicsAlliance is offering clips of the comics-specific segments of the show several days before the full podcast goes up at WarRocketAjax.com on Mondays.
This week, Chris and Matt talk at length about the five concurrent stories in Geoff Johns and Doug Mahnke's Justice League #31, using Superman #32, by Johns and John Romita Jr., as a measuring stick for comparison. Once that examination is all over, they pivot to Michel Fiffe's Copra #15.
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