Natasha Allegri is leading a movement. A quiet, earnest, doe-eyed movement to be sure, but one that is unstoppable, and unquestioningly vital. Bee and Puppycat, her already widely beloved series produced for Frederator's Cartoon Hangover channel, is about to relaunch, to widespread fan salivation. Her social media accounts swell with more and more followers every day. Puppycat plushes and inflatable swords were everywhere at San Diego Comic-Con, as was cosplay and fan art.
Allegri's work, in its sincere, unfailingly sweet way, has announced to the world that animation aimed at an adult (or at least teen) female audience is not just viable — it is a verified path to critical and commercial success. ComicsAlliance sat down with her at SDCC to discuss her success, the importance of cuteness, and what we can expect from the new Bee and Puppycat animated series.
Ever since Bloom County became a sensation in the early '80s, Berkeley Breathed has had an incredibly varied career. He followed Bloom County's initial success with two more popular comic strips, Outland and Opus; he won the 1987 Pulitzer Prize for editorial cartooning; he wrote and illustrated best-selling children's books; he adapted his own stories into a pair of animated TV specials, and he provided art for various environmental and animal-wellfare charities.
In recent years he's shifted his primary focus to film (production art and original projects), while also overseeing IDW's comprehensive collected editions of his strips. He recently teamed with IDW again for Berkeleyworks, a retrospective volume collecting a number of his paintings, sketches, and illustrations – and last month, he made a rare convention appearance, playing to a packed room at San Diego Comic-Con. ComicsAlliance spoke with Breathed about his career in cartooning, his work in other media, and his upcoming projects.
Marvel launches the eighth of its nine solo titles with a female lead in November with Spider-Woman #1, and the book sadly already has a cloud over it. A variant cover by master erotic artist Milo Manara stirred enough controversy last week to garner mainstream attention. The cover featured Spider-Woman with her apple-shaped butt raised high in decidedly unheroic manner. It was exactly what one would expect from Manara, who has created a number of superheroine illustrations for Marvel, but the image suggested a particularly overt tone of sexual objectification that could alienate the sort of readers who attended the Women In Marvel panel at San Diego where the series was announced.
As far as I can recall, Marvel has more female solo titles now than ever before, with a ninth title, Angela: Asgard's Assassin, launching in December. On paper, that suggests a laudable effort to reach out to superhero comics' growing and under-served audience of female readers. Yet the Manara incident serves to remind us that books about women can very easily be targeted to a male audience.
There's currently an unspoken contest between Marvel and DC to see who can produce more comics aimed at a female audience. It's possible the contest only exists in my head, as I've been keeping a tally of solo titles with female leads for the past several months -- but I wouldn't be surprised to learn that editors at the two publishers have also been keeping track.
Andy Price has brought joy to licensed comics. His work on IDW’s My Little Pony: Friendship is Magic necessarily follows the established look of the animated TV series, but Price's playfulness and skill enliven every page: imaginative lettering, dramatically lit villains, too many background gags to count. The most recently completed arc of the series, 'Reflections,' encompasses an alternate universe, doomed love, some truly intense crosshatching, and a general willingness to play with the characters in a way licensed comics typically avoid.
Along with writer Katie Cook, Price has developed Hasbro’s land of pastel ponies into something a little wilder and a little weirder, yet ensured that it remains enormously compelling to kids and adults alike. ComicsAlliance sat down with Price at San Diego Comic-Con to discuss how he and Cook pulled this off, his thoughts on Brony fandom, and, of course, his pick for best pony.
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.
When Mark Millar and Goran Parlov's Starlight was announced, I had mixed feelings. Goran Parlov may be one of the five best comics artists living today, and it sounded like a good idea: a retired hero in the mold of John Carter returns to the planet he once saved, decades after his prime, to be a hero once again.
But often it seems that no matter how good an idea is, Mark Millar can't help but screw it up. His love of sensationalism and his need to be controversial have sapped the power out of many of his strongest ideas, and I wasn't that surprised when our own Kevin Church ripped the first issue to shreds. I read it anyway, because Goran Parlov exists, and life is much better for it.
I was a little surprised to find out that I totally disagreed with Church's review. And I was shocked that the Mark Millar that I like actually decided to turn up.
For weeks, a friend of mine had been asking if I’d attend Marvel Universe Live with him. For weeks I had been saying “no,” because I had little interest in attending a two-hour production geared for kids that mainly consists of people running around in costumes on the floor of Brooklyn’s Barclays Center. The mistake I made was mentioning this to my editor, who then insisted it would be a good idea for me to attend.
Vertical Inc. publishes manga about eating disorders, adorable cat antics, 18th century prostitutes, and murderous high school cults. It brings avant-garde creators like Kyoko Okazaki and Moyoco Anno to Western eyes right alongside classic Tezuka work and more mainstream shonen fare like Knights of Sidonia and Mobile Suit Gundam: The Origin. I point to Vertical when friends ask me how to get into female manga creators, how to get into horror manga, how to get into josei (women’s) manga, or how to just take a break from the cycle of standard sci-fi and fantasy.
Vertcal is utterly singular and entirely necessary to the comics industry, and it was to the Vertical booth that I sped once the doors to the San Diego Comic-Con Exhibit Hall were open this year. After examining their new releases (I recommend In Clothes Called Fat, another glance into female anxiety courtesy of Moyoco Anno), I sat down with Ed Chavez, Vertical’s marketing director, to talk about past successes, present realities, and future plans.
When Wendy and Richard Pini released the first issue of Elfquest in 1978, the landscape of the comic industry was wildly different. The "direct market" model of retailing was still in its infancy, with a loose network of regional companies distributing titles to comic shops around the country, and there was a sharp divide (in both content and style) between the mainstream superhero titles of Marvel and DC, and the adult-themed "comix" from underground publishers. Star Wars was a pop culture sensation, and the public was hungry for more adventure, seeking out all manner of sci-fi and fantasy in theaters and bookstores.
It was the perfect moment for Elfquest to appear, and almost immediately, the Pinis had a best-selling comic on their hands. Within a few years, they sparked a second revolution, collecting Elfquest in a series of full-color paperbacks that pioneered the influx of comics into mainstream bookstores, and effectively laid the groundwork for the graphic novel market.
Now, 36 years later, they're still working on their signature creations, and have partnered with Dark Horse to publish a new series, Elfquest: The Final Quest, as well as new collections of the original series and a special "Gallery Edition," shot from the original artwork. ComicsAlliance got the chance to catch up with them at the Dark Horse booth at San Diego Comic-Con, and discuss how Elfquest has impacted the world of comics, both creatively and business-wise.
Mark Buckingham’s art hasn't just made Fables a classic — it has made it, and comics in general, accessible to reluctant readers the world over. His work on the long-running Vertigo series chronicling the lives of exiled fairy tale characters is simple, but never simplistic, and visually strong without ever sacrificing complexity. From Buckingham’s pen flow wooden soldiers of truly oaken resolve, smart-mouthed witches, rumpled detectives and alcoholic, anthropomorphic pigs, all living and loving in the little slice of New York City they've made their own.
Buckingham has helped propel the Bill Willingham-written series to the bestseller lists over and over again, inspired decadent cosplay and made Fables the kind of work that's beloved by your bag-and-boarding friends and your mom alike. Now, as the story nears its end, Buckingham is preparing to say goodbye the world he so richly imagined. ComicsAlliance found him at San Diego Comic-Con to discuss the fond farewell and what the future holds.
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