We make a regular practice at ComicsAlliance of spotlighting particular artists or specific bodies of work, as well as the special qualities of comic book storytelling, but because cartoonists, illustrators and their fans share countless numbers of great pinups, fan art and other illustrations on sites like Flickr, Tumblr, DeviantArt and seemingly infinite art blogs that we’ve created Best Art Ever (This Week), a weekly depository for just some of the pieces of especially compelling artwork that we come across in our regular travels across the Web. Some of it’s new, some of it’s old, some of it’s created by working professionals, some of it’s created by future stars, some of it’s created by talented fans, awnd some of it’s endearingly silly. All of it is awesome.
Barbara Gordon is for girls. This truth has been obscured over the years, most notably in the Batman: The Killing Joke, in which the classic Batgirl was shot, sexually abused and paralyzed by the Joker and taken out of costume for decades. But just as Superman stands for unimpeachable hope and Batman for rigid justice, Batgirl stands for girls doing what the hell they want. From the moment she debuted as part of the classic Batman TV show of the 1960s, this was clear: she was a librarian, she rode a motorcycle decorated with chiffon ruffles, and she did not give a damn that Batman wanted her to hang up the glittery puple cape and cowl. She was no sweet-tempered Kyptonian cousin, no kid sister, and no swooning girlfriend. As Mike Madrid detailed in The Supergirls: Fashion, Feminism, Fantasy, and the History of Comic Book Heroines, “Batgirl is a female Batman can actually regard as a brilliant peer and a partner in the war on crime, the same way he would a male.”
By this point, you've probably noticed that we here at ComicsAlliance are already huge fans of the new Batgirl of Burnside costume making its debut next month in Cameron Stewart, Brenden Fletcher and Babs Tarr's Batgirl #35, but there are some out there who don't like it. For a few eaders, the stylish leather jacket and snapped cape just seems so much less practical and realistic than the heavily seamed skintight spandex, leading them to express genuine concern about Batgirl's effectiveness as a crimefighter.
Fortunately for those compassionate souls, Cameron Stewart has made a concession in the form of a variant cover for December's Batgirl #37, featuring a new variant of Batgirl's costume that is more practical.
We live in a time of awesome superhero costumes in comics. The rise and rise of cosplay culture, the emergence of comic artists with a savvy understanding of fashion, and the slow diversification that's making heroes palatable to a broader audience, have all contributed to a costuming culture with more to offer than capes and pants.
Superhero costumes have always been an asset to the industry, because iconography helps establish character and create a brand. But the value of costumes in reaching audiences and reinventing characters seems to be recognized now as never before, leading to the rise of artist-designers like Jamie McKelvie and Kris Anka, who don't even need to be on a particular book in order to be called in to make-over the characters. This is a great leap forward in understanding just what a good costume can do -- and the special skills required to do it.
Since you are reading this on the Internet, I'm going to go ahead and assume that you're already familiar with the Ice Bucket Challenge, wherein folks are being nominated by friends, fans and colleagues to dump buckets of freezing cold water on their heads on camera to raise awareness of (and money to combat) ALS, a neurodegenerative disease that attacks the brain and spinal cord -- or Lou Gehrig's Disease, as it is popularly known. Over the past few weeks, we've seen plenty of famous folks taking the challenge, but now, it has busted right through the Fourth Wal, and all the way to Gotham City's Burnside neighborhood.
This particular challenge was issued by Brenden Fletcher, Cameron Stewart and Babs Tarr, the creative team for the revamp of Batgirl, and the challengee is Barbara Gordon herself, who seems set on finding out just how helpful that new jacket is going to be in fighting off the cold.
Despite all the big publishing news to come out around or during last month's San Diego Comic-Con, the new comic book that remains most anticipated by many superhero fans -- and by others who don't yet know they're waiting for it -- is Batgirl. Perhaps the one DC or Marvel comic that really does deserve a new #1 issue, Batgirl's youthful and stylish revamp at the hands of Cameron Stewart, Babs Tarr and Brenden Fletcher was met with massive electronic response when it was announced just ahead of the San Diego show, generating all but countless pieces of fan-art as well as some criticism from current readers for seemingly abandoning the darker aesthetic values of the three-year-old New 52 title.
There's a lot to unpack about the new Batgirl and we only had a few minutes with her new creative team in which to do it at SDCC. Read on for remarks by series co-writer and layout artist Cameron Stewart, co-writer Brenden Fletcher, and finishing artist (and, perhaps, spiritual guide) Babs Tarr.
Eighteen years after Fight Club first saw print, author Chuck Palahniuk is returning to the world of Project Mayhem for a sequel — Fight Club 2 -- which will take the form of a ten issue comic book series illustrated by Cameron Stewart and published by Dark Horse.
In this interview conducted at Comic-Con International in San Diego, the author talks to ComicsAlliance about why he chose to revisit the world of Fight Club, why he chose to do so in the comics medium, the process of learning how to write comics, his collaboration with Cameron Stewart, and how his ant-hero Tyler Durden may be much more than a figment in the Narrator's imagination, but a force of nature dating back millennia, shaping all of human history to facilitate a plan he has for the Narrator's nine-year-old son. And quite a bit more besides.
For years now, DC Comics fans have been hearing about writer Grant Morrison's The Multiversity -- a universe-jumping series of one-shot stories tied together by an introductory and concluding issue that tracks the cosmic monitor Nix Woton as he tries to save multiple universes from an existential threat. Universes that become aware of this threat by reading about it in comic books... comic books that, it turns out, take place in neighboring universes. We first saw artwork from Frank Quitely's installment all the way back in 2012, but the project has been in the works since even before the advent of DC's line-wide 2011 reboot, the New 52 (a name that has proven confusing in the past, but, we promise, never more so than in this interview).
Now it's finally starting next month, featuring auspicious collaborations with artists including Cameron Stewart, Ben Oliver, Chris Sprouse, Ivan Reis, Frank Quitely, and even more besides, introducing readers to a Vampire Batman, a Nazi Superman, a dinosaur cop, "Sister Miracle," an evil comic book called Ultra Comics, and tons of other ideas inspired by the deep history of DC Comics lore.
Over the last twelve days, Dark Horse has thrown a spotlight on twelve new creator-owned titles that they plan to promote at this year's San Diego Comic-Con. The series include the Fight Club sequel from Chuck Palahniuk and Cameron Stewart, a new Hellboy series from Mike Mignola and John Arcudi, and Joëlle Jones and Jamie S. Rich's Lady Killer.
Also in the mix; new series from Jeff Lemire, Matt Kindt, Rafael Albuquerque, and Cullen Bunn, and sequels to Colder, from Paul Tobin and Juan Ferreyra, and Alabaster, from Caitlin R. Kiernan and Joëlle Jones.
Eighteen years after Fight Club first saw print, author Chuck Palahniuk is returning to the world of Project Mayhem for a sequel -- which will take the form of a ten issue comic book series illustrated by Cameron Stewart and published by Dark Horse.
Speaking to USA Today, Palahniuk promises that the comic will pick up ten years after the events of the novel (which ends a little differently to the 1999 movie adaptation) with the unnamed Narrator struggling to be a good father to his nine-year-old son Junior, and not to repeat the mistakes his own father made with him.