Anne Hathaway, who, if you don’t know by now is portraying Selina Kyle/Catwoman in next summer’s The Dark Knight Rises, spoke to LA Times Hero Complex with some interesting things to say about how her portrayal will be different from other versions, but still true to the essence of who Catwoman is and how she is influenced by Gotham City.

“What’s come before doesn’t limit or even affect this new version. It doesn’t affect me because each Catwoman – and this is true in the comics as well – she is defined by the context of the Gotham City created around her. Catwoman is so influenced by Gotham and whoever is creating Gotham at the time… You have to live in whatever the reality of the world is and whatever Gotham is.” She continues with how Heath Ledger’s now legendary performance is on par with what she’s aiming for. “Gotham City is full of grace. You look at Heath’s performance as the Joker, there was a lot of madness there but there was also a grace and he had a code there. There’s a lot of belief and codes of behavior in Gotham and my character has one, too. A lot of the way she moves and interacts with people is informed by her worldview. Chris has given us all such complex, defined, sophisticated worldviews that it’s just a matter of doing your homework and getting underneath the character’s skin.”

Interesting way of putting Ledger’s performance. Something I hadn’t ever really thought of since Joker practically got rid of any beliefs about criminals and their methods as he brought a more chaotic feel to the crimeworld. Hathaway also goes into her motivation of the way she’s going about the character as film siren Hedy Lamarr was a key influence on the Catwoman character. “I know this sounds odd, but her breathing is extraordinary,” Hathaway said. “She takes these long, deep, languid breaths and exhales slowly. There’s a shot of her in [the 1933 film] ‘Ecstasy’ exhaling a cigarette and I took probably five breaths during her one exhale. So I started working on my breathing a lot.”

Also over at the interview, there is a scene synopsis that is only hinted in the newest trailer that gives more details about Catwoman and Bane’s rapport and that DKR might draw more influence from the Batman arc “Knightfall” than I had certainly anticipated. Spoiler Alert now has been initiated.
(more…)

The world of professional wrestling has a cast of characters not so different than comics. You have your heroes and villains, both fighting for domination, or a championship. Legendary comic artist Jill Thompson has been busy designing ring attire for WWE superstar, Daniel Bryan (aka former residential indie legend, Bryan Danielson). Blog@ talked to Thompson about the inspirations that went into the designs, as well discussed her love of the sport, and whether she’d ever step into the ring.

Blog@: Who approached who on designing Bryan’s ring gear?

Jill Thompson: Bryan approached me. I would have never thought to do it if he hadn’t contacted me. I ‘armchair design’ some gear during shows, you know…you see someone who could use some pizazz or some color….everyone ‘s got black trunks because they are a tough guy…which gets a bit boring for me as a viewer… However I’ve never sought out anyone to ask them if I could redesign their gear.

Blog@: Bryan has a history of pretty simplistic attire, Jill what was your artistic approach to his designs?

JT: He asked me to design something cool, but to continue to use his colors of maroon and white. He said “Make me look like a superhero.”  and, as far as superhero gear goes, I’m a fan of stuff that looks wearable. I like to make things that look fashionable and functional, based on real world clothing.  So, I took my cue from Bryan’s name, “The American Dragon”. I thought to myself, what’s an American Dragon? A mythic powerful beast? Yeah, but taken to another more symbolic level? It’s a Hot Rod. A Muscle Car. Something that has great power and is uniquely American that the rest of the world still looks at and goes, “Aww Yeah! That is awesome!”

And Bryan has a classic American guy look. Like a Paul Newman. He’d look just fine sitting behind the wheel of a ’67 mustang or something. White t-shirt and jeans kinda timeless American style. I wanted to mix all of those elements up with a little bit of Evel Knieval thrown in for good measure. The first gear I designed for him was the boxer style hoodie jacket with the white stripes and flames. Just like the hood of a Mustang. The Dragon logo is an homage to the Mustang grill ornament and the lettering style is based on the Ford Mustang logo. I added hot rod style flames into it because I love how those things look and I thought it added another subtle Dragon-y element to it. I also design with the idea that these jackets (not the trunks or kick pads) could be worn outside the ring. I want Bryan to look at it as something he  could wear as civilian clothing.

Yeah, I know it’s got his name on it…but it has to. I’ve also sent him a few tshirt designs based on his gear. I want fans to see his gear and think, “Damn, I want a jacket like that!” That first jacket, in my notes, I was suggesting a soft fabric, like a really light hoodie material, lined with a jersey knit t shirt type fabric with no cuffs on the sleeve. But the gear maker chose another material. Leather or something. Which looked cool as well…it’s odd. You picture something in your head, but you don’t really know if the type of fabric you see in your head exists. Or if the gear maker has access to a a huge variety of fabric. Not everyone lives in the Garment District of NYC. How do designers get textiles made? Thats what I need! Access to a textile factory! And all of the subsequent gear I’ve designed since then, I’ve based on that first concept as well, just tweaked it in different ways. I’m trying to keep his closet full of a wide variety of outfits!

Blog@: For those that might not know, you’re actually a really big wrestling fan. How long have you watched wrestling programs?

JT: I remember watching  boxing and wrestling once with my Grandpa. It was on a Sunday and it was on a black and white TV. I didn’t know the difference between boxing and wrestling because of the ring, y’know. But I remember sitting on his lap and him being so animated the chair tipped over with both of us in it. Then he took out his false teeth and laughed and scared me silly! And the funny thing is- that could have been three separate instances, but I remember them all as one now. The next time I watched in earnest was when Hulk Hogan was blown up all over the world in the ’80′s. And then I didn’t really watch again until one Saturday morning when Brian [Azzarello] found it on my TV and we watched together. So that was mid 1990′s. I remember the debut of Mankind very well. All of those promos leading up to his debut, with him in the cellar, and there were rats and stuff and he was rocking back and forth…and then pretty much every Monday night more or less since the mid 90′s.

And, before you ask– No. I was NOT into the NWO. Sorry, everyone. I hated them. They stood around and did nothing as far as I was concerned. I liked the Guerreros and Rey Mysterio and other guys in WCW. In fact, my heat with them was so real I made Brian turn the channel when they came on. And I think that’s right about when  Steve Austin ‘broke’ into Brian Pillman’s house and Pillman had a gun out to defend himself. The soap opera lover in me was kinda hooked on that but at the same time I would get pissed at all of those type of  gimmicks on one level saying…”Oh, that guy’s got a gun and we hear a shot and then we just cut back to the ring announcer? Oh, Please, that’s so fake! How can they even show that!?”  But I got lost in the story quickly and forgot my cynical ways.

Blog@: Using the current WWE Superstar roster, whose gear would you love to design? What about anybody else from the indie scene? Colt Cobana, maybe?

JT: I’m happy designing Bryan’s gear for as long as he wants me to. It’s a good mix. I don’t  have ideas for random guys on the roster. It just happened that comics and wrestling mixed together in the right way for us. I work well off of a mutual admiration type of relationship. He knew my work and was a fan of it and was a fan right back.  He had an established gimmick that he was going to keep. He knew what he liked and gave me some direction. It’s important that the character be there for me to create something. And I’m really lucky that he’s liked most everything I’ve designed for him. Its really thrilling to see my drawings come to life. This latest set of gear has really gotten some nice compliments.

There are some guys who have asked me to design something, but unfortunately I haven’t been able to come up with anything! I’m also not a great logo designer, so when someone wants their name all fancied up, I might do better to send them to a logo designer or graphic designer. Just so they will get the best job. I mean I can do a little of that, but, it’s not something I think about all the time and I have no idea how to do stuff on the computer in photoshop and the like and that seems very computer necessary. I did design a couple of ring robes for Christopher Daniels. He was looking for something when he was in ROH. Something that would compliment his existing gear. I like what I designed for him, but I think his character in TNA has gone in a different direction. I’ll get to something for Colt one day. We’ve talked about it. A singlet of some sort. He’s got definite ideas of what he likes. I haven’t clicked with the right thing yet for him. But you never know.

Blog@: Wrestlers usually portray characters that are larger than life, do you think there is a correlation between the entertainment aspect of wrestling and super hero comics?

JT: I think that’s an easy answer: of course there is. Visually, the way the characters and the wrestlers look. The physicality of it, the costuming, the promos… all portrayed in the wrestling ring, which is kind of like a comic panel, if you think about it. And the characters break outside its panel borders on a regular basis. The commentators are the captions. The promos are the dialogue or in some cases monologue. All that talking works better in wrestling than in comics, because the voice overs don’t interfere with you being able to see the actual wrestling, the way it would if it was word balloons.

Blog@: Jill do you think that there’s a hidden wrestling superstar within you?

JT: Hidden? You do not know me well, sir!  I’ve got an affinity for the theatrical! I love to entertain an audience though a story and I’ve always been fairly strong… But the cardio! Lord, that’s some intense cardio!

Blog@: Do you have any more designs for Bryan in mind? Maybe something specific for a future world champion?

JT: There are three that have been on TV and two more in the works. When they come to me, I illustrate them, write notes on them and then send them to Bryan. He let’s me know if he likes them and then he gets them made. There are a couple cool ones that could be made in time for Wrestlemania!

Artist Robbi Rodriguez has been making a name for himself as of late. Aside from independent hits such as Tek Jansen, Moon Lake, and the upcoming Polly and the Pirates 2, he’s also joining Rick Remender on Uncanny X-Force and Vertigo title, The Unexpected. Rodriguez has been promoting the sequel to his creator-owned Frankie Get Your Gun. Blog@ talked to Rodriguez and discussed “FGYG2″ and his influences behind his storytelling process.

Blog@: Robbi, you’ve been promoting Frankie for a while now. The first part came out last year or so, for those unfamiliar with Frankie and why she has to get her gun, can you fill us in?

Robbi Rodriguez: Yeah FGYG is an acid western. It’s about the subject of revenge and just what are the ramifications from those actions. Its follows the typical hit list formula at the very beginning, but I start it out at the end of the list. It follows Frankie Kansas, a child born with the soul purpose to seek retribution of a gang of land grabbers from years past. The thing is Frankie is autistic and that handicap has been used to her advance on her campaign over the years by her trainer, Jericho Topo, a ex-war vet. And it will be needed as her last target , Bastin Window, an immortal space god trying  to make out of town as he’s doubled-crossed one to many folks. But at its heart it’s also about some Mother-Daughter relations. I grew up in a house of women and seeing first hand a woman finding her identity with a mother’s preset obligations. I found it could be the foundation hell of a story. Especially one with basically two female leads.

Blog@: Interesting that you’d make Frankie autisic, any reason on why?

RR: That’s an aspect I took from the 70′s Hong Kong and Japanese films. The protagonist in those films always have a handicap. The one-armed boxer for example that actually serves as an advantage. And with all the films in the revenge genre they always have this one-tracked mind or presented as a thoughtless killing machine. While she is not thoughtless at all, she is presented to her world as one.

Blog@: Like “The Blind Swordsman: Zatoichi“?

RR: Exactly.

Blog@: The art style is very kinetic here. What are some influences on your style and the visuals you used?

RR: This is basically the voice that has been trying to get out for a while. “Polly 2″ was the hill I needed to climb to find it. I alway wanted to do something like this because this was something I was not seeing out there while I was originally working on it. I am a huge Jamie Hewlett fan, and as you can see by the work, a huge Tank Girl fan, too. Thus the nod with Frankie’s look. I wanted to see comics like that again. I mean you see it in most indie books, but I wanted to bring it back to genre comics. Not just a slice of life about nerd pop culture. And I also wanted to bring that energy of the 70′s low budget genre pics. I guess what they call “Grindhouse”. I grew up on that stuff. Dawn of the Dead is the point I wanted to hit.  Its so over the top, but at the same time it’s so down to earth. I wanted to bring the attitude of a Hewlett and [Katsuhiro] Otomo with character interaction of a [Alex] Toth and [Dave] Mazzucchelli.

Blog@: So where are you taking Frankie and company in Part 2?

RR: Issue two recounts the story of the train ride out of town. It’s the beginning of the race for Window. All the parties are showcased and what they have to lose. My wife was looking over the end of the issue and she was shocked by a direction I took. I knew I was on to something here. It’s an issue to show that there are no black and white hats here. They are grey in their own way.

Blog@: And you’re planning on making this a web series, correct?

RR: This was always planned as a digital comic from the start. Back in ’05 when I just heard the rumors of an Apple tablet reader. It will be online for free at Frankiegetyourgun.com every Wednesday, 2-5 pages a week. But also a magazine-sized version of the issues as well. Then down the line, a hard cover collection with an EP from this great band called Married with Sea Monsters.I wanna use the Radiohead/NIN model. Value for value. Support it in a way you see fit. If you want to chip a buck or buy a book, rad. If you just wanna just read the book, hey just spread the word. It will also be on Four Studio’s Double Feature with 50 pages at 99 cents.

[Blog@ notes: Robbi even made a "trailer" for FGYG2: click here]

DragonCon.

As a native Atlantian and connoisseur of geek culture, there is almost nothing I look forward to more than DragonCon. There’s costumes on parade. Great comic creators. And quite frankly, it’s ruined every other con for me. Everything else seems so tame by comparison. Not dull, but not as exciting. Though, I will say WonderCon this past year and NYCC 09 stand out as really good times. Though DragonCon continues to top itself every year.

I’ve had this discussion before about good ole D*C: it is NOT simply a comics convention, it is an across-the-board-genre convention. Once a year, Anime, Dr. Who, horror, and comic fans all converge into downtown Atlanta. That being said, I do tend to concentrate on the comics area. Probably the highlight for me each year it just to hang out with the slew of talent Atlanta has. For almost 20 years, Gaijin Studios was the studio to belong to. It produced such alumni as Adam Hughes, Cully Hamner, Georges Jeanty, Jason Pearson, Dave Johnson, etc. Early last year, it closed its doors, but rumor has it, there is a Gaijin 2.0 in the works.

So what is it about Atlanta that attracts such top talent? It doesn’t have a huge studio presence of the big two that say New York or Los Angeles has, yet the creators that call Atlanta home is astounding. At DragonCon this past week, I sat down with some of comics’ top names, and some up and comers about Atlanta and what makes the city such a hub bub for comics and comic professionals.

(more…)

Doctor Who fans are eagerly awaiting this Saturday’s return of the hit show on BBC America with the episode titled “Let’s Kill Hitler,” not to mention the return of the 11th Doctor Matt Smith. Until then, you can check out his adventures in the Doctor Who Annual from IDW, in stores today, with an all-star line-up of creators. Newsarama spoke with one of them about his work and got an exclusive sneak peek at some preview art from an upcoming arc!

As I mentioned, the Doctor Who Annual 2011 features the Eleventh Doctor in his first-ever Annual adventure. The  issue is oversized at 48 pages and contains three full stories as well as a prologue to the next arc by writer Tony Lee and artist Josh Adams.

The next arc of IDW’s Doctor Who, by Lee and Adams, starts with issue #9, set to be released September 28. It just so happens that’s the same day Adams’ famous father, Neal Adams’ New Avengers #16.1 comes out. “When I finally got to read the annual top to bottom, I felt like not only was every creator excited about the content but were really trying to out do each other and I think when you read it you’ll really get the benefit of all that passion,” artist Josh Adams told Newsarama.

“My part in the annual is really a prologue to issue #9 and yet when you read it, you realize it’s like anything Time Lord related; so much bigger on the inside,” said Adams, “Detectives, aliens, talking dinosaur, giant squids, Native American Indians and egg whisks! Of course, if you think that’s something, issue #9 has so much more.”

The artist said he worked through Independence Day weekend as well as Comic-Con week in order to meet the tight deadlines for the book but couldn’t be happier with the results. “Tony Lee has been creating amazing stories in the IDW series, quite in step with the content Steven Moffat produces for the television series and for the scripts I got to draw, he really gave me the kinds of juicy details that you could only wish to see on the show.”

This isn’t just a job for Adams, it’s also a joy. He’s a big fan of the long-running British TV show. “My apartment is jam packed with all sorts of  ’geek’ goodies but take one look and it’s clear that Doctor Who really rules over all,” he told us. “So getting to work on the comic and adding my name not just to the great list of talents who have done the comics but who have created nearly fifty years of amazing sci-fi history just means the world to me.”

The Doctor Who Annual 2011 also features stories by Echoes writer Joshua Hale Fialkov and artist Blair Shedd, Doctor Who Magazine writer/artist Dan McDaid, and writer Matthew Dow Smith and artist Mitch Gerads. The cover features an illustrated Doctor by each of the artists involved, Adams’ is the one standing at the bottom.

“I really enjoy being able to tell stories that a whole family can enjoy while not being to broad or oversimplified and Doctor Who is a series that really takes that sentiment to heart,” he said.

Whoa.

Recently over at Jill Thompson’s twitter, the famed cartoonist and comic artist posted this painting of Wonder Woman that she had done. But what does it mean? Blog@ had the chance to speak with the acclaimed creator on her thoughts about the design and could this be the beginning of something?

What some people might not realize is that Thompson’s first gig into mainstream comics was actually on Wonder Woman in the early 90′s. “Well, getting to work on an iconic character right off the bat, with a comics legend like George Perez writing the story is a pretty great memory,” Thompson stated. “I remember tackling a page that had something like 19 panels on it. I doubt if I’d be able to do that now!”

I love Thompson put a little Greek homage into her design here. I think it’s a good balance of armor and a bit of the flair from the original design. “I think Wonder Woman is a strong, sexy warrior,” she said. “A hero. But also very regal. I was doing a character design to go along with a pitch I’ve had in for a OGN at DC for a while, so it’s not a redesign because I was trying to say something current costume – it was one of the ways I’d approach it in the story I want to tell.”

In addition to Thompson not deviating from the famous color scheme, she adds a bit of practicality to the costume. “If you’ve ever worn a bustier [author's note: I have not, but I can imagine what it is like] and moved your torso in it, you’re not going to be able to do much practical fighting if there aren’t any straps. I love to design clothing. I’d give her lots of variations on a theme. Nothing drastic, but focus on her as the costume and not just the costume as the costume.”

Another thing I really dig is how she incorporated a bit of might and magic into this design. She then states what and who Wonder Woman is to her. “I think she’s someone who is sure of herself. She’s a warrior who operates on her own set of rules. She’s been raised by warriors, and she’s royalty, so I think that gives her an air of superiority that maybe hasn’t been addressed. She’s commanding. I’d love to do that.” She continues with “I showed her having slain the creature because I love mythos, magic and adventure, and my story has a good deal of that in it.”

I can’t be the only one out there that thinks this would be a great idea. Jill Thompson is hardly a stranger to magic and myth. Add an Amazonian super heroine in the mix, and you’ve got gold. What do you think, readers?

It’s been a while since Ted Naifeh has dabbled in the world of his series Courtney Crumrin.

Over at Naifeh’s site, he presents a few preview pages for the upcoming for the upcoming Courtney Tales 2. Newsarama has got the exclusive interview with Naifeh, as well as the first look to the cover, as well as the official name: Courtney Crumrin Tales: The League of Ordinary Gentlemen.

Blog@: You’ve written another Aloysius story before, what made you want to write another about Courtney’s mysterious uncle?

Ted Naifeh: The first one was really part one of a two parter. I wanted to resolve that story, and this book does exactly that.

Blog@: Without giving too much away, where does this story take Aloysius?

Naifeh: The story explores the roots of my little magical world, where it came from, why it’s there, and what Aloysius’s role is in it. Aloysius is a pretty mysterious character in the main series, and I wanted to reveal some of his secrets. I’d like to think this story addresses why he’s such a lonely old man.

Blog@: Does this tie into any of Courtney’s adventures?

Naifeh: It will in the next Courtney adventure. I start digging more deeply into the back story of Courtney’s world, the community of witches and warlocks in the town of Hillsborough. Some of what comes up will have direct bearing on Courtney’s life.

Blog@: Who are some of the new characters we’ll get introduced in this tale? Any old favorites coming back this round?

Naifeh: One of the characters I had fun with in the last story was the pulp hero Goose Daniels. But since he was transformed into a goose at the end, I needed a replacement. So he has a confederate that comes looking for him, and ends up getting press-ganged by the Anti-Sorcery Society to take his place. Another character that shows up is Aloysius’s grandmother, who was briefly mentioned in Courtney vol 3 as the first witch in Hillsborough. It’s through her that some of the world’s back-story is revealed.

Blog@: Do you feel your style has evolved since last dabbling with Aloysius?

Naifeh: I tried to make it as similar as possible, but I’ve acquired new influences, and I can’t help it if they shine through a bit. It’s not a jarring difference, at least. Just a bit better.

Blog@: Tell us about some of those new influences.

Naifeh: In my promotional trips to Europe, I had had the honor of being exposed to some truly amazing artists. Sergio Toppi is a real artist’s artist. He’s been around forever, and you can see his influence on Bill Sienkiewicz as well as french artist Phillipe Druillet, who I used to adore back in the early Heavy Metal Magazine days. The new one is named Roger (which sounds much more romantic with a French accent), artist of Jazz Maynard (ditto). His lines are so incredible, so elastic yet under precise control.

Blog@: You took a break for a while doing Good Neighbors with Holly Black, how does it feel coming back to the world of Crumrin?

Naifeh: Like returning home, really. Courtney’s world is as comfortable to me as my own bedroom. I’m looking forward to adding some new flourishes. But I really had a ball working on Good Neighbors, trying out some Toppi-style line work (which was ill-advised, but I eventually got some really nice results out of it), and getting to do real fingers instead of Courtney’s spikes or Polly’s nubs.

Blog@: Do you foresee an end to Courtney and Alyosuis’ tales?

Naifeh: I foresee a stopping point. But that doesn’t mean I’m done with them forever. In this new volume, I added a single story element that completely changes their world, and that makes me want to explore the world a bit more. I have a definite conclusion for the Courtney Crumrin series, which is pretty final. But it’s not like Courtney’s going to die or anything. So we’ll see. As for Uncle Aloysius, this second volume concludes the Anti-Sorcerer Society storyline. I’d love to continue his adventures if I have time. But I want to explore new worlds as well. Princess Ugg is calling to me, demanding that her story be told. And there are others.

I’m not sure if you’ve noticed but there’s this little event going over at Top Cow now called “Artifacts”. Ring any bells?

Sarcasm aside, one of the great selling points on Artifacts isn’t just the fantastic story (so far) that’s being architectured by Ron Marz, but he’s working on a rotating team of artists. Recently it was announced that Jeremy Haun (Detective Comics, Berserker) will join the rotation, picking up where Whilce Portacio leaves off.

Blog@ spoke briefly with Marz about the artists he’s been working with and the great chemistry between story and art, as well as working with Jeremy Haun.

Blog: Okay, so, first it was Michael Broussard, then Whilce Portacio, and now Jeremy Haun — who approached who about working on Artifacts? You or Jeremy?

RM: Top Cow publisher Filip Sablik was the matchmaker here. When he knew Jeremy was signing an exclusive with Top Cow, Filip called me up and asked what I thought of Jeremy taking the last on the third arc of Artifacts. Took me all of two seconds to say yes, as Jeremy is somebody I’ve been wanting to work with for a while. We actually talked about working together last year, but I don’t think either of us expected it to fall into place this quickly.

Blog@: Some say Whilce Portacio is doing some of his best work in a long time working on Artifacts, what is it about this story you think that elevates these artists to a whole other level?

RM: I certainly agree, I think this is some of Whilce’s strongest stuff ever, but I’m a bit biased obviously. Whoever I’m working with, whatever project I’m working on, a big part of my job is to play to the artists’ strengths and give them something they’re excited about drawing. Comics are a visual medium, so the scripts need to be as visual as possible. Otherwise, what’s the point? I also think you have to mention Joe Weems on inks and Sunny Gho on colors. They’re both bringing their best as well, so they make a great team with Whilce.

Blog@: Who’s on your shortlist of the artists you’d love to have on the final installment of Artifacts? Or do you already have somebody in mind?

RM: My shortlist has one name on it for who should draw issue #13, and that’s who’s drawing it.

Artifacts: Volume 1 is on sale now.

The first question here is a biggie, I’ll tell you that up front. And while many fans (notably Kevin Allen, who often comments on The Gold Exchange and who posts regularly on Boosterrific.com) have already guessed at it, it’s something that not only hasn’t been officially announced yet by DC, but which delayed the whole Gold Exchange interview by almost a full day while Dan Jurgens called around to get clearance and make sure we weren’t breaking any rules. So I’m happy to make it the first thing I ask in our last Gold Exchange here at Blog@Newsarama.

Time Masters: Vanishing Point #6 hit this week and has already been stirring up reactions from non-Booster Gold readers with a chalkboard at the end of the issue that’s dangling a number of enticing Flashpoint plot threads in front of readers months before Geoff Johns’ ambitious time-travel crossover story even begins in May…and with a “to be continued” tag at the end of this story that says Booster Gold #44 and Flashpoint #1, it seems pretty likely that DC’s premier behind-the-scenes time-travelers (That’s Rip and Booster) will play a fairly substantial role in that story.

The Gold Exchange: So—as we’ve done once or twice before, last thing first: Back when it was announced you’d be leaving Booster Gold for a while to take on Time Masters: Vanishing Point, it became public knowledge after an issue of Booster Gold had “To Be Continued In…” tagged at the end. Now that story is finished and the last issue of Time Masters says “To be continued in Booster Gold #44.” Will you be the one continuing your storyline in a new title here, as you did after The Tomorrow Memory?

Dan Jurgens: Yes. I’ll be jumping back to Booster Gold as of issue #44, which I’ve just started drawing. It’s good to be home! (more…)

A few weeks ago, DC’s The Source gave us our first look at Kevin Maguire’s Tanga and Aaron Lopresti’s Garbageman for the upcoming Weird Worlds anthology. Back in October, Lopresti talked to Newsarama about his unique creation. Blog@ had the chance to talk to contemporary master, Kevin Maguire, about his extraterrestrial lady, Tanga.

Blog@: So, Kevin, you’re more well-known for your artistic duties. What people might not know is that you’re also one heck of a film buff and actually involved in sketch comedy and short films. Do you feel that your creativity comes more naturally at an artist’s desk or the writer’s chair?

Kevin Maguire: Well my create-o-meter’s a bit on the fritz, but if I’m reading it properly, it’s leaning towards writer’s chair. If I’m drawing then, generally, I’m telling someone else’s story, assisting someone else in bringing their vision to the masses. Maybe not masses, as much as small assemblies.

Blog@: What made you want to be a part of this incarnation of Weird Worlds?

Maguire: It never started as being a part of Weird Worlds. About a year and a half ago, at the Philly Con, Dan DiDio sat at my table and, knowing that I wanted to do a series about a character who, at that point, I was calling “My Space Girl”, said “Let’s pull the trigger on this”. That was one of the happiest moments of my career. At first, we were talking about having it as a second feature to R.E.B.E.L.S, which I thought would have been a very nice fit and went to being the second feature replacement to Metal Men. Somewhere around that time the Weird Worlds title was introduced and they put Tanga very comfortably there.

Blog@: So I guess the big question is who is Tanga?

Maguire: Tanga is a girl who has been flying around the fringes of space looking for some kind of intellegent contact. She’s seeking some kind of connection, any kind of connection. She legitimately feels like there’s no one else in the universe quite like her. She’s right about that. She possesses both enormous cosmic power and an inability to self-edit, a combination that will, inevitably, always lead her into trouble. My short hand pitch has always been “The power of the Silver Surfer and the personality of Sarah Silverman”

Blog@: How long has this idea for Tanga been rattling in your head?

Maguire: It’s been floating around my fertile noggin for quite a while in a far more embroyic form. It wasn’t until I was being interviewed for my highly-flattering, but perhaps premature, induction in the Modern Masters series that I’d come to realize that I always enjoyed doing projects that I wrote and created far more than anything else. It was after that that I started giving more form to her and her world. I knew I wanted to have it take place in outer space because I have so much more fun creating environments wholly out of imagination. I knew it would be a female character because, well, I love women.

Blog@: What was your inspiration for Tanga?

Maguire: In terms of her character, that’s tough to nail down. I’ve described it as if there was a second soul inside my body that’s been aching to get out and hit the page. I’m sure she is, in some way, a representation of some part of me, if , of course, I was smoking hot babe. Visually, she’s inspired by British model Carla Brown, a petite brunette with a real sparkle and intellegence in her eyes. Warm but mischievous.

Blog@: Will she be interacting with other characters from the DCU?

Maguire: Not in this story arc, but she will do some name-dropping. She’ll mention that Lobo thinks she owes him money, but she disputes that. I’ve got ideas for at least four more Tanga story arcs. My hope is that the character will be well regarded enough that DC will allow me to continue telling stories about her. Honestly, once I’m finished with the Generation Lost covers, I would be happy working on nothing else for the rest of my comics career. It’s just been far more satisfying writing, pencilling, and inking something of my own creation. And, hopefully, my colorist , and part time physicist, Rosemary Cheetham will continue working on it with me. It’s been a different and unique working relationship on this project. I’m really enjoying it.

Blog@: What can fans expect from this story?

Maguire: For my chapters, you can expect aliens, giant monsters, lots of action, lots of fun and a very funny and gorgeous central character. Oh, and a background for every panel. No floating heads. Well, one floating head, but he’s a character in the story.

Carmine Infantino: Penciler, Publisher, Provocateur
Edited by Jim Amash and Eric Nolen-Weathington
Published by TwoMorrows

This long form interview with classic comics illustrator and one-time DC Comics publisher Carmine Infantino will be of interest, primarily, to Infantino and DC fans.  It’s a solid piece, covering the full breadth of Infantino’s career, which means that it’s also skimpy in places as the interviewer (Amash) and interviewee race to the next big moment.

Fortunately, Infantino had many big moments, from being among the last artists to draw the Golden Age Flash to designing and drawing the seminal adventures of the Silver Age Flash, from reworking Batman during the 1960s to overseeing DC Comics during the early days of the direct market.  Infantino’s not shy with his opinions, particularly at the end as regards the current state of superhero comics and the fates of his creations Barry Allen (death and rebirth are covered) and Ralph Dibny.

Ultimately, it’s not quite essential reading, but for fans of this dynamic artist or readers interested in the span of comics history he represents, Carmine Infantino: Penciler, Publisher, Provocateur provides plenty of interesting stories and insights into one man’s working methods, perspective on his career and evolving feelings regarding the industry itself.

AMC’s The Walking Dead, based on the renowned comic series of the same name, is getting a ton of press and rave reviews from all around. Recently, over at The Walking Dead blog, an interview was posted with Sarah Wayne Callies, the actress who portrays Lori Grimes. It gives a bit of insight into how she play Lori and how they get that oh-not-so-fresh look just right.

Q: When it was announced that you were playing Lori, did any fans of The Walking Dead comic approach you?

A: Actually, I was in a comic book store in Vancouver and I was looking through for the latest issue that had just come out and the owner of the comic book store came up to me and said, “I see you’re checking out The Walking Dead. It’s amazing.” I said, “Yeah, I’m a huge fan.” And he said, “You know they’re making a television show for AMC. It’s supposed to be really good.” I kind of looked at him and I froze. I just went, “I’ll keep an eye out for it.” And I ran out of the store. I mean, what kind of jerk goes, “Yeah, I’m playing Lori.”

Q: Do you do a lot of camping in your real life?

A: Yeah. The rite of passage of learning to build a fire that will burn all night with one match is not an insignificant one in my husband’s family, and I grew up camping and backpacking. I love to camp. I think I’m probably much better at the boots and pocket knife thing than I am at the high heels and martini thing. And thankfully, Lori is so comfortable with it. For all the parts of her that were work, that felt like home.

Q: How much time do you have to spend in make-up to–

A: To look that bad! I’ve had so many journalists who see this thing and go, “Don’t take this the wrong way but you look like s—.” It’s dirty out there. It’s hot. Most of the make-up revolves around sunscreen. They paint dark circles under my eyes. This is not a show that is particularly amenable to vanity.

Q: Lori took her family photo albums when she had to leave town. What would you take if walkers were invading?

A: I’ve got a go bag. It’s a backpack that’s ready in the closet at all times for whatever. So that’s all packed.

(more…)

Well, now you have the chance to help.

It wouldn’t be the first time that one of best-selling author and contemporary legend Neil Gaiman’s stories have been turned into a movie. Both “Coraline” and “Mirror Mask” were critically-praised, the former even garnered and Academy Award nomination for Best Animated Feature. However, both of those had big studio backing, independent film-maker Christopher Salmon has a different idea. Utlizing the popular site, Kickstarter, Salmon has pitched the idea to make one of Gaiman’s short stories, “The Price”, into an animated short.

Newsarama recently spoke with Salmon about his artistic talents, the animation process of the short, and what it was like to recieve Neil’s approval.

Newsarama: Okay, Christopher, tell us a bit about yourself

Christopher Salmon: Where to start? I’m Canadian & grew up in the stunning Okanagan valley in BC.. I’ve always wanted to make movies an spent my youth and, well, pretty much my whole life trying to develop the talents and skill set to do just that taught myself to draw, write, and sculpt (so I could make rubber monster masks and then foam-latex creatures & stop-motion puppets) Took enough piano so I could generate a simplistic John Carpenter-esque score to go along with my cheesy horror films I made in High School TV class, which usually plotted around some cool new special effect I’d figured out, like my own version of the chest-burster scene from Alien so, totally high-class stuff

I thought I might get my break into film through special effects make-up, but I wound up in the video game industry for many years, just from reading stuff (Fangoria, Cinefex) and trying things out. I blew my chest off once trying out a home-made squib (not so funny) my Mom took one look at the blackened mess on my chest and ordered me to surrender my can of re-filling gunpowder on the spot not too bright either … (me, not my Mom — she rocks)

Nrama: So big horror fan, I take it?

Salmon: I love monsters, so yeah, I’ve watched a lot of horror flicks, but the whole blood/torture/dark-evil thing isn’t what draws me … I just dig the monsters, you know?

But I love Sci-Fi, fantasy, anything really mostly, I love movies. That’s what I love about this story of Neil’s; even with the cool monster stuff, the overall feeling is hopeful, positive, and a little melancholy.

Nrama: Out of all of Gaiman’s stories, what drew you to the Price that made you want to make something like this?

Salmon: The theme of redemption. A chance to design some really cool monsters. I like cats too, so really it was win-win-win! Also, I was looking for something on a small scale that I could handle the bulk of the work for. In the animatic, I didn’t feature any of the secondary characters at all (you could see their feet or profile in shadow) … by being able to keep the focus on the Narrator/Neil, The Black Cat, and the monsters, I could manage costs and put the funds towards these central characters. So it was all of these things, but primarily the theme & feeling I got while reading The Price.

Plus, if I can see it immediately in my mind, I know my chances of recreating successfully are very high and once it’s in there, the only way to ever get it out … is to make the film!

(more…)

Ted Naifeh, like most artists, loves drawing Batman. Much like how almost every artist has that one character they get sheer joy out of drawing, Naifeh’s is definitely Gotham’s Dark Knight. Recently, on his website, he displayed some mock covers of Bat-books. Now, he’s already done some redesigns of Bats’ rogues gallery and other miscellaneous Gothamites, but what he’s done here is completely different, and truly amazing. Naifeh spoke exclusively to Blog@ about Batman and his thoughts on the character’s legacy.

(more…)

Mike Carey and Peter Gross’ Vertigo series, The Unwritten, has swooped up numerous award nominations and has found itself on the New York Times Best Sellers list twice already. It is a tale of intrigue, fantasy, father-son relationships, and finding your purpose in life. Tom Taylor has been on quite an adventure in the past year and a half and with the revelations of issue #16, it’s really only begun. Blog@ spoke to the author of the series, acclaimed writer Mike Carey about the ambitious undertaking he took with the most recent issue and what’s in store for Tom, Savoy and Lizzie. Caution, there are spoilers for those of you not caught up. (more…)

This past Wednesday DC shipped the twenty-fourth issue of their Super Friends title, the kid-friendly Johnny DC book based on the Mattel toy line of the same name. That means cover artist J. Bone has been working on the title for two straight years now, providing all 24 covers and the interior art for a handful of those issues.

Writer Sholly Fisch devised a heck of a script for the issue, about a mad scientist convention in Oolong Island that includes just about every villainous scientist in DC’s extensive character catalog. The number of cameos and in-jokes—about one a pane—make the issue perhaps the best jumping-on point for grown-up DC fans the series has had so far. The task for introducing the likes of Mr. Mind, Dr. Cyclops, Dr. Poison and Dr. Togg and his Gombezis into the Super Friends-iverse fell to Bone, who drew this particular issue cover to cover.

I took the opportunity to talk with Bone about drawing DC’s biggest stars (and all of the company’s mad scientists).

Blog@Newsarama: One of the behind-the-scenes aspects of comics like Super Friends that I’ve always been interested in is seeing the way a particular artist’s style converges with the pre-existing design of the concept the book’s based on. For example, seeing artists drawing in a Bruce Timm-inspired style on some of the animated books, or, in this case, adhering to the basic design of the toy line.

Was it at all difficult for you to sort of calibrate your style to fit the look of the Super Friends toy line? Or am I making an unfair assumption—was there a point at the beginning with model sheets and the like involved?

J. Bone: In the beginning (and still) there were model sheets. I take them out with each cover just to make sure I’m not going too far off the mark. I’ve definitely streamlined a few things and melded my style with the look of the book. I think the main difference for me in the start was that I don’t tend to draw a lot of muscle definition and the Mattel Toy Line is all about muscles. The proportions I had no problem with, I just had to consciously add more muscle definition. They’re big, fun, cartoony characters. You could compare them to the old He-Man toys in that they’ve got very large upper bodies.

Since doing a few interiors I’ve learned how to add the chunky muscles without, I think, losing my own approach to drawing. Looking at Kirby art really helped with that. He’s the master of those big, muscley supermen!

(more…)

Joe Sacco is awesome: his books are gorgeous, and in this interview he gives an eloquent argument for a non-comics audience for using comics to tell stories. Love.

In Footnotes in Gaza: A Graphic Novel, Joe Sacco looks back at 1956 in Gaza, when one bloody day in Rafah left 111 Palestinians dead. He tells the story in intricate pictures as well as the words of the people who survived that day, and like his other graphic works, he combines journalism with cartooning to create a hybrid art form that not only relates a story, but transports the reader back there.

Since 1997, Lark Pien has built up a reputation within the small press comics community and has now made the jump to her first children’s book based on her most popular character, Long Tail Kitty. Having studied architecture and pursued work in the architectural industry, Pien gradually made the transition over to comics and becoming a full-time artist. With a number of projects in the works, this is a good time to check in on her.

Blog@Newsarama: Tell us about Long Tail Kitty, the character. How far back does it go and is it a guiding force in your comics?

Lark Pien: Long Tail Kitty – Heaven was a story for my rabbit who died while i was traveling abroad in 1999-2000. LTK was almost a side character but he was well-received, and I met many people in comics after this story.

I don’t think Long Tail Kitty is a guiding force, but he’s been fun to draw, and his easy way helps me not to be so serious all the time.

Blog@: You loved comics as a kid, you became an architectural designer and then you returned to comics. What was it like starting out in comics?

LP: It was very humble and private, but I met many cartoonists early on. They were supportive and gave advice freely. Sometimes I would get a postcard in the mail from a cartoonist. My little world became a little bit bigger that way.

There weren’t many girl cartoonists. I remember meeting Andrice Arp at an Alternative Press Expo. I bought her comic and she gave me a sticker of a giant angry duck and I got it in my head that I wanted us to be friends. This wasn’t grade school but it might as well have been! Somehow it happened, we became good friends.

Blog@: Please describe for us your working methods. How do you develop your work?

LP: I write and draw in my sketchbook. I’ll draw even when I don’t have ideas. Most times I know the beginning and the end of a story, but not the middle.

I have to really work to make the beginning and the ending meet. It’s good if i can build a structure to support my story, then let it take the shape that it wants to be.

A lot of people ask about creating characters, how I come up with them. Usually I’m thinking about what the character is doing or where it is in the world, and the story comes from that. The personality and how the character looks develops along the way, and usually reveals itself later on in the process for me.

Blog@: Can you share with us how you’ve managed to turn your comics and art into a career?

LP: This is a very hard question! I’m not sure i can answer it correctly. Do we talk about money? My view on money is general rather than specific. I tend to overlook trend type offers due to a muted interest in the short term.  I group projects by seasons (commissions for example, are winter/spring; conventions are summer/fall). I like to think ahead, but not plan a whole lot.

I think about political/cultural landscapes changing – and what will i be like when i’m seventy, ninety? Also there are all sorts of inventions I hope to see before I die. This is unprofessional to say, but I think my career is a semblance of self-certitude and the possibilities in the world surrounding.

Blog@: What would you like to tell us about your new children’s book, Long Tail Kitty?

LP: My publisher, Blue Apple Books, has been very generous! BAB has given me a lot of freedom in writing the stories I wanted to tell and drawing the art the way I wanted to do it. They made the book design very special (embossed die-cut cover, cloth binding, an activities foldout page, and a draw LTK bonus section!), and to see the artwork in full-color is a treat (my minis are usually in b/w). though catagorized for younger audiences the new stories in this book retain the qualities that are in my mini comics, so i hope older readers give it a chance too!

Blog@: Can you tell us something about your role as a colorist for Gene Yang’s American Born Chinese?

LP: Chinkee was a challenge to color – he was in a different style (more cartoony) than the rest of the characters, but still placed in a real setting. How yellow is too yellow? He’s supposed to be too yellow. It was hard to make those kinds of decisions. Sometimes I wanted Gene to say “Whoa! Change that color!” but he was very easy-going.

Blog@: Are there any comics that you follow? Or can you tell us about some of your favorite comics?

LP: I like Hicksville (Dylan Horrocks), Black and White (Matsumoto Taiyo) and Notes For A War Story (Gipi). They are my favorites.

Black and White I first read in the 90′s, when VIZ was in SoMA. I was given an oversized  two-volume set – which I foolishly lent out and never got back (see these glittering tears? Falling like rain.) It’s out of print now, that edition, but I’ve another reading set which I don’t mind lending out still.

I just read a ton of Vagabond (Takehiko Inoue) and cartoonists who I’ve recently stalked online are Lille Carré, Eleanor Davis, Laura Park and Anke Feuchtenberger. Girls win this round!

Blog@:  Any upcoming projects that you’d like to tell us about or any thoughts on what lies ahead for you?

LP: I just finished the artwork for Mr. Elephanter – a children’s book with Candlewick Press, based on my mini-comic, Brave Mr. Elephanter (2007). The graphic novel project, Stories from the Ward, is with First Second, but completion won’t be for a little while yet. FS has been very patient and supportive. There are two other comic projects with publishers, but we haven’t set a release date yet. Artwise, I’ve been developing a new series of abstracts. I’d like to squeeze in a collaborative project and/or installation project sometime this year. That’d be fun.

Keep up with Lark Pien at her blog and check out more of her work here. Long Tail Kitty is published by Blue Apple Books.

In America, now suffering for its excess with the Great Recession, you never know who might look down upon you if you don’t own a house, or a car, or the latest gadget. Western society tends to have a problem with identity and status and capitalism and commercialism are always there to provide a quick fix. Maybe these times are converting more people to cherish a more simple life and appreciate what they already have. That back-to-basics lifestyle is what is at the core of what is one of the most significant do-it-yourself enterprises out there, a self-published zine called, “King-Cat Comics & Stories” by John Porcellino who has grown into a significant artist in his own right.

The current issue of “King-Cat Comics & Stories” marks the 20th anniversary of the little zine that has influenced a generation in comics and much more. John Porcellino’s last visit with Newsarama was a few months ago. With the current leg of his book tour completed, here’s a chance to catch up a bit more with the man called the heart and soul of the small press. Here is further insight into his latest collected work, “Map of My Heart” and “Thoreau at Walden.”

Blog@Newsarama: “Map of My Heart” covers six years, 1996 thru 2002, in your life and “King-Cat.” At the start of this period, you were just beginning to study Zen Buddhism. How would you describe that journey and how it has influenced your comics?

John Porcellino: I always say that when I first discovered Zen, it was like finding an old pair of shoes in your closet, that you’d forgotten you had.  You put them on and they’re worn-in and comfortable.

Zen practice is the practice of everyday life, so eventually it connects to all aspects of your life.  In that way, for me, it connected to comics.  Comics became part of my practice.

In a way, meditation probably helped me to slow down a bit and have the patience to really look into small moments, which was something I was always interested in doing with my comics.

Blog@: You make such wonderful observations about nature. And, often, it’s about little creatures that must coexist with us humans and our suburban sprawl. You find the poetry in that. Tell us more about this.

JP: In one of his writings, Thoreau talked about appreciating more the natural environment in which humans have made an impact.  I feel the same way.  Pure wilderness is amazing, but I was always more attracted to the pastoral, where the fingerprint of human activity is on the land, but it’s not obtrusive, it’s a part of the environment.  So I’ve been interested in the way Nature adapts to humans and vice versa.

I think it’s beautiful, and inspiring, that humans are so self-centered, stomping around blindly on the planet, yet Nature rolls on all around us.

Blog@: I love all your top forty lists. Among movies, I see that the Marx Brothers are all-time favorites. Those guys loved to perform and loved people. What do you think of Charlie Chaplin? I think he shares a quality you have of wanting to give back.

JP: I’ve only seen two Chaplin films, “The Gold Rush”– while in high school, and “Modern Times,” last week…  so I don’t feel knowledgable enough to comment on Chaplin.  As far as giving back, yes, I feel like part of a community, and that we’re all here for each other.

Blog@: What can you tell us about your influences in your work? I’m guessing that James Thurber is one of them.

JP: I’ve read Thurber for years, and I definitely love his work, but I wouldn’t call him an influence.  If he was it was very subconscious.  My main influences I would say were Matt Groening, Lynda Barry, the Chicago Imagists, Kerouac, Thoreau, John Rooney (college painting teacher), Warhol, punk rock, Jenny Zervakis, Jeff Zenick, and various Buddhist poets and writers.

Blog@: “King-Cat” began in 1989 and is unique in having developed this world-wide grass roots following. Can you speak to that?

JP: I don’t know what to say about that.  I appreciate it…  it’s humbling, and motivating.

Blog@: Please tell us about a project I am sure is dear to you, “Thoreau at Walden.” I see that you visited Walden. That cabin is pretty small!

JP: One day Jame Sturm emailed me and asked if I would be interested in doing a book on Thoreau…  as soon as he mentioned it, I thought “Wow–  what a perfect idea!”  Thoreau has been a huge influence on me, perhaps the biggest influence on me as an artist, and it was a real honor to work with his writings in that way.

While on tour I finally got to go to Walden Pond.  It was a clear, cold morning at the beginning of October, so there were very few people around.  It was a joy to walk on those paths.  It felt like American holy ground.

Blog@: What would you like to tell us about your book tour? You’ve completed the East Coast leg and there’s still more to come, right? Any stories come to mind?

JP: I toured the Northeast and Midwest in September/October, and hope to make it out to the Southeast and West Coast next spring/summer.  The tour was great, but exhausting!  I got to see so many new places, and meet so many people, old friends and new.  It was inspiring.  My life isn’t very dramatic, so I don’t know how many interesting stories I have to tell.  It was fun learning how to sleep sitting up in a freezing cold car.

Blog@: Share with us a bit about your own reading of comics. What comics are you currently into? Any thoughts on DC, Marvel, whatever comes to mind.

JP: I’ve been reading mostly some of the great reprints that are coming out nowadays, Little Orphan Annie, Peanuts, Popeye, Walt and Skeezix.  I picked up about two boxes full of books and zines while on tour, so I’m set for a long time as far as reading goes.  Been learning a bit about the alternative Manga artists, and that’s pretty exciting, it’s a whole new world to explore.

Of contemporary cartoonists, I really love Kelly Froh and Max Clotfelter, Jason Martin, Gabrielle Bell, and all the other usual suspects.

As for DC and Marvel, this year I started reading a bunch of the Jack Kirby reprint series, and it’s no exagerration to say that they’ve totally changed my thinking about comics.  They kind of re-inspired me after a long period of self-doubt.  But I’m otherwise unfamiliar with anything those companies have put out since the mid-80′s.

Blog@: You’ve written about how suburban life can be comforting. Do you think that’s sort of a human’s natural habitat?

JP: No, I think suburban life is unnatural.  It’s comfortable in some ways, if you have a car, and don’t expect to have a community experience.  I spent my adolescence in the suburbs, so I have an affinity to them, and a nostalgic kind of longing for them, but in general I think they’re unhealthy and unsustainable.  I appreciate more cities and towns.  I suppose the most natural environment for humans would be a town large enough to have a cultural scene, but small enough to feel human scaled.  By that I would include city neighborhoods.  But there should be access to Nature.  I don’t know!

Blog@: I love the notes you include in the back of “Map of My Heart.” You provide the initial thoughts that led to some of your comics. In “Psalm,” I thought you stayed out of the house to let your cat, Maisie Kukoc, sleep but you say it was the stars that kept you outside, which makes perfect sense. Could you really hear the living ground?

JP: Yes.

Blog@: You’ve had your share of illness and, in the end, you say it has strengthened you. You speak about not fearing death but, at the same time, loving being alive. Would you say that is the theme to “King-Cat”?

JP: Yeah, in a way it is.  Maybe the theme to “King-Cat” is “This is your life, and it’s your job to live it.  No one else can do it for you.”  Find the sanctity in that.

Blog@: You started “King-Cat” as a youth full of dreams and you’ve kept on with it and seen it mature and prosper. Would you say that “King-Cat” is fullfilling your dreams?

JP: I wouldn’t really think of them as “dreams.”  I had something I wanted to pursue, and a way I wanted to pursue it.  To have been able to do that to the extent I have has been gratifying.

I always wanted to be an artist, I wanted to be able to communicate to people through my art.  At some point that became a reality, to one degree or another.  In that way it’s been successful.  It feels good to go on.

“Map of My Heart” is 360 pages and priced at $24.95

Vist the publisher of “Map of My Heart”, Drawn & Quarterly.

Keep up with John Porcellino at the King-Cat Web site.

The webcomics collective ACT-I-VATE has their own documentary!

Seth Kushner and Carlos Molina announced that they are almost finished their film on the group called “The ACT-I-VATE Experience,” and will premiere it at the Baltimore Comic-Con on October 11th. It will also be shown at Brooklyn’s King Con on November 6th.