Bill Sienkiewicz is one of the unquestioned greats of the comic medium, a creator who, over his long and stories career, has constantly pushed the limits of sequential art, blending media, blurring boundaries between seemingly disparate techniques, and creating work that's endlessly innovative and instantly identifiable. And his work hasn't been limited to comics – he's painted cover art for best-selling albums, created animation design, illustrated trading cards, and co-created picture books.
Now he's contributed to a multi-media "post-digital" project entitled H8 Society: How An Atomic Fart Saved The World that combines his visuals with an original sci-fi/comedy ebook by the postmodern duo known as 2Dans. The project also includes a collection of 26 original songs from independent musical artists. It's an ambitiously unorthodox enterprise, and on the eve of its release, we got the chance to sit with Bill and discuss his contribution to the project, his stylistic choices, the balance of artistry and reality, and all manner of other things.
Michael Moreci has been building his name as a stand-out genre comics writer in the past few years, starting with paranormal investigator series Hoax Hunters at Image, co-written with Steve Seeley, and more recently with the sci-fi noir odyssey adventure Roche Limit, with art by Vic Malhotra.
His new series, Transference, sees him unite with artist Ron Salas at Black Mask Studios for a high concept tale of time-travel and counter-terrorism, as an elite special agent transfered into his own past-self must track down an enemy agent to save the future. ComicsAlliance chatted with Moreci about his relationship with comics, working with Ron Salas and Black Mask, and why he's not afraid to court Hollywood through comics. He also shared an exclusive eight-page preview of Transference #1.
Yesterday, DC Comics announced a new marketing initiative that it has titled "DCYou," aimed at celebrating "Fan-Favorite Characters, Top-Notch Talent, Diverse Stories and DC Fans," according to the press release.
This being DC, there are some notable missteps in this initial launch that don't bode well for the campaign as a whole. The biggest problem seems to be a corporate appropriation of messages that the publisher thinks readers want to hear, which lack something when run through the filter of corporate language. The hope is that this signals good intentions, but recent creator numbers at DC don't back that up.
The CW's Arrow closed out Season 3 this past week with the surprisingly final "My Name is Oliver Queen," but for many a creeping sense of indirection has permeated the emerald archer's arc this year. Now, we attempt to pinpoint where Arrow went astray, including a character absence that may surprise you, and what hope we might find for Season 4.
ScreenCrush editor, comic-book lover, and undiagnosed masochist Matt Singer is systematically watching every single (American) comic-book movie ever made in the order in which they were released. This week in The Complete History of Comic-Book Movies: This looks like a(nother) job for Superman.
Many of comics’ most popular heroes have been around for decades, and in the case of the big names from the publisher now known as DC Comics, some have been around for a sizable chunk of a century. As these characters passed through the different historical eras known in comics as the Golden Age (the late 1930s through the early 1950s), the Silver Age (the mid 1950s through the late 1960s), the Bronze Age (the early 1970s through the mid 1980s) and on into modern times, they have experienced considerable changes in tone and portrayal that reflect the zeitgeist of the time.
With this feature we’ll help you navigate the very best stories of DC Comics’ most beloved characters decade by decade. This week, we’re taking a look at Lois Lane.
Over the course of seventeen real years and three webcomics set in the same locale, John Allison has taken his breakout character Shelley Winters through various incarnations. She’s a hot, saucy dame made up by some strange man on the internet, but is she really as naughty as all that? Join us as we track a lusty life in webcomics; the life of Shelley Winters.
We have to believe victims of harassment, even in conditions that we’ve been taught should excuse us from giving a damn: what the victim was wearing, what they’d done with the harasser previously, whether we even like the victim personally, and, perhaps most importantly, who the harasser is.
We want an excuse not to believe, because it would release us from the unpleasant matter of figuring out what to do next. This is an especially thorny problem online, where we act as if we only have two options: join the angry mob with pitchforks, hounding the guilty party out of our spaces and off the web (or out of the industry) entirely, or… do nothing.
ScreenCrush editor, comic-book lover, and undiagnosed masochist Matt Singer is systematically watching every single (American) comic-book movie ever made in the order in which they were released. This week in The Complete History of Comic-Book Movies: Superman returns (but not Superman Returns).
Girls need role models. This is an old canard, though it’s tempting to see its genesis in 1990s girl power — it’s just that it hasn’t always meant warmed-over Gloria Steinem quotes and the Spice Girls. June Cleaver was a Good Role Model for Girls. The Virgin Mary is a Good Role Model for Girls. Their ranks have swelled with Buffys, Lara Crofts, and Wonder Women, but they stand, toned of arm and glossed of lip, beneath the same banner.
In response to a dearth of women, mainstream comics now turns to the Good Role Model for Girls as a panacea. Spider-Gwen! Spider Woman! Batgirl! Hawkeye! Black Widow! All the women in X-Men! She-Hulk! Even Suzie in Sex Criminals! And oh, how the little girl marooned in 90s comic dungeons within me sang! It’s a new age, I thought; a turning point. The first issues fly by, and I purchase every single one.
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