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[personal profile] thanekos
His style helped tell the tale with detail and fragility.

That clashed with the simple and solid depictions that'd come before in IDW's universe.

The clash was made obvious at the end of issue #3, when the protagonists met an antagonist.

Galvatron, seeking to raise dormant Cybertronians to fight the thing called D-Void, came to Dykayra.

There, he met a face he wasn't expecting.

" I-it cannot be! "

" Oh, but it is, Galvatron.. "

His familiar foe loomed. )
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[personal profile] superboyprime


'I wanted to make sure to pull in artists that I knew would do soul-bending work, but also happen to draw in styles that, for some unknown reason, seem to keep them outside of the mainstream superhero artist loop. I have no idea why that is, because this is how I personally want to see more superheroes done. McDaid, Maybury, Farinas -- these artists are as different from each other as they are from most of the folks who do get hired to draw the monthly books at Marvel and DC right now. At those publishers, these guys would be -- and have been -- shunted off to the occasional stories in Marvel's "Strange Tales" anthology or DC's "Bizarro Comics." I love both of those books, but they're definitely built and marketed as something "other." Meanwhile, these guys would never be let loose on the monthly, primetime adventures of Captain America or Wonder Woman or whoever. But the way they depict superheroes is so much more exciting and individualistic to me.' - Joe Casey

Read more... )
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[personal profile] superboyprime


"As far as I'm concerned, DC and Marvel have fallen back onto some bizarre, corporate responsibility to keep superhero comic books boring, to keep them at a level where all the creative risk-taking has been beaten out of them. Comic books by committee. No thank you. Luckily, ours is a greater responsibility. There's still some Art to be made here." - Joe Casey

Read more... )
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[personal profile] superboyprime


'They've now been through several waves of creators coming and going, multiple storytelling fads, endless "event" books, countless occasions where the Internet was supposed to "break in half," a few editorial administrations at the Big Two publishers...they've seen it all. We've got online pundits actually feeling dirty and shameful because they find themselves trying to analyze Marvel NOW! or the New 52 or whatever other bullshit marketing ploys the Big Two are trying to put over on us. But what else is there to talk about, if you still dig on the idea of superhero comic books and still believe in their potential for providing a bit of forward-thinking entertainment? Hopefully, this'll give them something new to talk about, something different to think about.' - Joe Casey

Read more... )
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[personal profile] superboyprime


'To me, a lot of current superhero comic books have become very predictable. Even when they're unpredictable... they're predictable in their unpredictability, if that makes sense. It may just be where things are at right now, but the corporate nature of the most well-known superhero IP's has resulted in comics that -- again, in my opinion -- have lost a certain kind of energy that I really miss.

'Actually, "miss" is a gross understatement... just as a reader, I'm actually heartbroken that we'll probably never get another Batman story with the singular vision and the cultural impact that Miller's Dark Knight Returns had.

'Right now, everything feels so focus-tested and filtered through writers' rooms and editorial groupthink. It's the nature of the beast, I guess. But we're hoping there's still room for the kind of superhero comic book that shoots from the hip, so to speak.'
- Joe Casey, on what this series is trying to do

BTW, my post about the first issue is fixed now. There was an issue with the number of pages posted, but it's fixed now.

Read more... )
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[personal profile] superboyprime
Catalyst: Agents of Change was a superhero series that Dark Horse put out back in the 90s. It's the latest property to join in the revamp trend. Dark Horse has hired Joe Casey to update the characters for today as Catalyst Comix. Unlike most of today's revamps of moribund properties, this one is unusual in that it's not a reboot. It continues from the same continuity as the original work.



'My pitch to [Dark Horse publisher Mike Richardson] was, "Look, DC Comics will put a guy like Paul Pope – a singular, visionary artist by anyone's standards – on a special 'Batman' mini-series but would never in a million years put him on the monthly 'Batman' title (for now, let's just ignore the fact that Paul probably has no interest in that gig)." For DC, having an artist that's so unique and individualistic as the "public face" of one of their IP's is, for them, a step too far. It's too weird for them. It's much safer to have someone with a more "mainstream" style (in other words, a style that can be easily copied by other artists) because it maintains brand consistency. But, for me, superhero comicbooks need the exact opposite. They need to be weird and unique and dangerous-looking.'

'Listen, I'm the nutjob who convinced Marvel to hire Eddie Campbell to draw a section of "Uncanny X-Men" #400. That was eleven years ago, so it shouldn't be a surprise to anyone that I feel this way.'

'Collaborating with Dan [McDaid], Paul [Maybury] and Ulises [Farinas] is the main reason I'm doing this at all. Like I said, these guys would never be hired by Marvel and DC to draw monthly superhero comic books. And as far as I'm concerned, that's absolutely Marvel and DC's loss. But they're amazing and perfect for this kind of imaginative, over-the-top material. Superhero art is supposed to be bold and weird and beautiful.'


- Joe Casey

Read more... )
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[personal profile] stubbleupdate
July's issue of Wired contained not only an analysis of Lois Lane, but also a piece on digital comics, entitled The Battle Begins.
American comic book fans live for Wednesdays. That’s the day the new issues arrive. Every major American comic book publisher uses a single distributor, Diamond, to ship boxes of their latest releases to roughly 2,200 comics retail stores across the country. The shop owners—or their minions—put that week’s crop of Batman or X-Men or Buffy the Vampire Slayer on the shelves, and then the fans arrive. A lot of them go to the same store every week, where they have a “pull list” on file, books they’ve asked to be set aside so they’ll never miss a single pulse-pounding issue. It’s a tradition.

To be more specific, it’s a dying tradition. The Wednesday crowd is the old-school audience, collectors who are willing to shell out $3 or $4 for a stapled-together pamphlet that they’ll put in a plastic bag with acid-free cardboard and store in a long white box. Those customers have been trickling away for years.


It's a decent read, and comes with some interesting art. )


And, in Eisner-winning Indie comics news )

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