Tagged: Daredevil

Mike Gold: It’s Not Your Father’s Boob Tube Anymore

gold-art-140122-150x214-1540579It just started to snow out here in the Atlantic Northeast. I got the mandatory robo-call from our mayor telling us the world is coming to its end. There’s just enough white stuff on the ground for a 1980s yuppie to slip into a twitchy nostalgic daze. Going outside would be stupid: people out here don’t know how to drive on snow, and they act as though a little bit of snow is a sign from their lord telling them they’re going to hell. Which, given the fact this is snow and not hot hail, seems oxymoronic.

I’d give up and just watch television, but I really haven’t enjoyed daytime television since Phil Donohue got liquored up and threated to bite Mike Douglas’s balls off, and besides, odds are in favor of my losing power for at least a while. The good news is, I’ve got lots of stuff on my iPad – including work – and I can recharge that in my car. The better news is, pretty soon we’ll all have access to a lot more fun stuff.

Perhaps you heard that Marvel Studios is cutting out a slice of the MCU and taking it to Netflix as a whole bunch of mini-serieses: Daredevil, Jessica Jones, Iron Fist and Luke Cage, each with its own 13 episode series, each set in Hell’s Kitchen, and then winding up with a big mini called “The Defenders.”

That’s pretty cool. I like the idea of programming coming from non-broadcast and non-cable sources, and I like both House of Cards and Alpha House on Netflix and Amazon Prime, respectively. Marvel says that Netflix gives them the ability to do more fan-friendly teevee; that’s either a really good idea or a threat. We’ll see.

Now comes word that another comics creation is coming to TabletVision. Amazon Studios is paying for the long-in-development Barbarella pilot, based upon Jean-Claude Forest classic science-fiction comic from the 1960s. Skyfall writers Neal Purvis and Robert Wade are still on board to write the series.

I don’t think any of these projects would have made it on cable teevee, and certainly not on broadcast. Oh, sure, maybe Daredevil, Jessica Jones, Iron Fist or Luke Cage, but not all four tying into a fifth mini-series. As for Barbarella, well, the campy movie doesn’t transfer well into the 21st Century, but the comic book does. We’ll see which path it takes… and how salacious they can be.

With the recent, massive improvement of Agents of SHIELD, Fox’s Gotham pilot (which sounds like it has great potential), NBC’s John Constantine pilot, and ABC’s Agent Carter pilot (I loved the Marvel One-Shot on the Iron Man 3 Blu-Ray), I’m actually a lot more enthusiastic about teevee comics than their four-color counterparts at Marvel and DC.

And they’re willing to put it all on my lap, or, through AppleTV or similar devices, on my HDTV.

For free… well, pretty much.

Thank you.

THURSDAY MORNING: Dennis O’Neil

THURSDAY AFTERNOON: Tweeks!

FRIDAY: Martha Thomases

 

Mike Gold: Marvel Now What?

gold-art-140108-150x168-8434917Oy. They’re at it again.

In what seems like three hours ago, Marvel Comics did a semi-reboot called Marvel Now. Unlike DC’s New 52, it wasn’t a makeover of their entire line. Unlike DC’s New 52, it wasn’t totally boring and arbitrary. It was still another contrived event that paved the way for a bunch of unnecessary first issues and a couple crossover stunts that led me to abandon reading a slew of their titles.

And, today, we get Marvel All-New Now. Or Marvel Now All-New. Or, if you’re Stanley Lieber or Jack Kurtzburg, Marvel Now – Nu?

So what is Marvel All-New Now?

Beats the hell out of me. I’ve read all their stuff, their Diamond solicitations, their website, all kinds of stuff, and as far as I can tell it’s still another contrived event with a bunch of unnecessary first issues and likely will pave the way for a couple crossover stunts that will doubtlessly lead me to abandon reading another slew of their titles.

In fact, this time Marvel is simply stuttering. They’re giving us Marvel All-New Now replacements for titles that had been published under Marvel Now that, previously, had been published by Marvel pre-Now. How many “first issues” of the Hulk and Daredevil can Mark Waid write in the 21st Century?

Do first issues carry the type of circulation boost as they used to? What about first issues that have a whole bunch of variant covers for retailers to trade back and forth to each other, bidding up their alleged “value” but rarely actualizing any gain by selling them to an ostensibly waiting marketplace?

Honest. Does anybody actually care about Marvel All-New Now? Are you excited by this “event?”

I’ll probably check out a few of these “new” titles – they’re relaunching a few characters that I’ve liked in the past, and no matter how the numbering works I still enjoy Waid’s Marvel work – as well as that of many others – and I see no reason for this to change.

Don’t get me wrong. I like superhero comics, as part of a healthy diet of sundry genres and media. I like DC and Marvel’s superheroes. I just seem to have stopped liking their superhero comic books. They willfully beat it out of me.

Lucky for me, there’s plenty of good stuff out there.

THURSDAY MORNING: Dennis O’Neil

THURSDAY AFTERNOON: The Tweaks

FRIDAY: Martha Thomases

 

John Ostrander: First Times

ostrander-art-131229-150x157-1351643The trailer for The Amazing Spider-Man 2 is out and you’ve no doubt seen it here on ComicMix and elsewhere. It looks pretty spiffy, I think, and I’m ready to shell out my shekels to see it.

I came into the living room the other day as My Mary was watching the end the previous Amazing Spider-Man on the tube. She mentioned how her friend Sherry preferred Toby McGuire’s Spider-Man to Andrew Garfield’s and made an interesting observation: McGuire’s Spider-Man was more Todd MacFarland while Garfield’s was more Steve Ditko. I found that pretty astute.

McGuire was also Sherry’s first Spider-Man and I think that also plays into it. Who your favorite artist (or even writer) on a given character or property may depend on who was on the book when you first read it. For me, my Spider-Man artist was John Romita – and that’s Senior, not Junior (who is a fine artist in his own right). I would only encounter Ditko later, in reprints (this was long before the Internet or even comic book stores with longboxes). I’ll be honest; I was not keen on Ditko at first. My guy was Romita Sr. My Spider-Man was the one he drew.

I don’t know who was drawing Batman when I first read the book; the first one I remember was Neal Adams (and scripted by our own Denny O’Neil). I think my first Doctor Strange artist was Marie Severin, inked by her brother John, a mighty duo.

The idea (I wouldn’t call it a rule) also extends to Doctor Who. The definitive Doctor for an individual is often the one you first saw in the role. For me, it was Jon Pertwee, with the capes and the bouffant hair. The episodes were aired sporadically in my area and one day I came across one with a horse faced actor in a big multi-colored scarf swanning around and being called the Doctor. I was resistant to Tom Baker for a good while; my Doctor was Pertwee. I came around and Baker became one of my faves along with most of the rest of Who fandom.

I found it interesting in a special mini-episode where David Tennant’s Doctor comes in contact with Peter Davidson’s Doctor and said, “You were my Doctor!” I think that was true for Tennant; he would have been the right age.

The concept doesn’t always hold. My definitive Avengers artist would have been John Buscema, definitely not the first artist I saw on the book. OTOH, my definitive Conan artist would have been Barry Windsor Smith and not John Buscema. BWS was the first. Gene Colan was the first artist I saw on both Daredevil and Iron Man and remained the definitive artist for me, over both Wally Wood and Frank Miller on Daredevil and Bob Layton on Iron Man.

These are all artists whose work I have enjoyed on the various books but they don’t hold the special place in my heart that the first artists did. They marked the first time I encountered the characters and fell in love with them and there isn’t anything quite like your first love, is there?

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Jen Krueger

 

Netflix Commissions 4 Marvel Series Leading to The Defenders

David Slade Exits Fox’s DaredevilMarvel’s cinematic Avengers will be joined on the smaller screen by The Defenders, the culmination of four series just commissioned by Netflix. Luke Cage, Daredevil, Jessica Jones, and Iron Fist were announced this by Variety morning as each receiving thirteen episode commitments. The linking device is that all four series will be set in New York City’s Hell’s Kitchen, which, in the comics, has been Daredevil’s base of operations dating back to the 1970s.

This rumored set of series was revealed without naming producers, writers, showrunners or casting but would be expected to debut some time in 2014. The announcement did not acknowledge if this quartet of series will be set in the same reality as the film series. If so, it would also connect these shows to ABC’s Agents of S.H.I.E.L.D.

Netflix has received great attention thanks to their original series, a move now being imitated this month by Amazon Prime and soon by Hulu and YouTube. Their House of Cards was the first internet series to receive an Emmy nomination and will be back for a second season in the winter. The pay channel’s Orange is the New Black is their most watched original series and will also be back for a second season, as will their Hemlock Grove.

Since Jeph Loeb was added as a VP for filmed material, Marvel has filled in a vital gap with live-action television, something they seemed unable to crack. Beyond these four, and the subsequent Defenders teamup project, Marvel has been said to be eyeing a Peggy Carter spinoff based on the short film with Haylee Atwell that was attached to the home video release of Iron Man 3. Other series apparetly also ebing pitched to other networks.

Disney’s Marvel movies will move from Starz to Netflix after the current dea for the studio’s output expires in 2015, just in time for The Avengers 2.

DC Entertainment aso has numerous television series in development, mostly at their co-owned CW network with the Flash expected for the 2014-15 season. Fox is also developing a Gotham City series featuring young James Gordon, long before Bruce Wayne first dons the cape and cowl.

REVIEW: Batman: The Dark Knight Returns Deluxe Edition

BatmanDKR Deluxe EditionWe should have seen this coming. Last fall, Warner Animation unleashed Batman: The Dark Knight Returns, Part 1, adapting the first two issues of Frank Miller’s seminal prestige format miniseries. In January, we finally got Part 2, completing the story of 50 year old Bruce Wayne being forced to don the cape and cowl once more, to bring justice back to a crumbling Gotham City. Out now is Batman: The Dark Knight Returns Deluxe Edition, seamlessly editing the two sections into a 148-minute feature.

As previously reviewed, the adaptation is largely successful, recreating the bleak look and feel of a fascist world, protected by a Man of Steel working for a government Wayne no longer recognizes. The story is clearly Miller’s musing on the role of heroes in the time of Ronald Reagan but it is also a thrilling adventure, looking at a bitter, somewhat broken hero who has turned his back on the people he swore to protect. Events and destiny, though, have something to say about that choice.

So, the question becomes, is it worth buying the combined parts in a single disc? As a film, no, not really. Being a successful adaptation, it lays the ground work in the first half so things explode and rush along in the second., Splicing them together, it plays nicely and ramps things up and without waiting six months, delivers on the promised climax. It’s a satisfying adaptation from writer Bob Goodman and director Jay Oliva.

What you also get that’s new is a fun, interesting Audio Commentary track from Oliva, Goodman and voice director Andrea Romano and a second Blu-ray disc containing all the previous features plus a brand new lengthy documentary on Miller. Masterpiece: Frank Miller’s The Dark Knight Returns (69 minutes), narrated by Malcolm McDowell, not only talks to Miller at length but includes colleagues including Jenette Kahn, Editor Denny O’Neil, collaborator Klaus Janson, admirers Grant Morrison, Michael Uslan, and Mike Carlin. We meet the Virginia fan boy who successfully found work as an artist at Marvel, getting noticed for his work on Daredevil, leading to coming over to DC for Ronin then Dark Knight, helping shape the next generation of storytelling. Unfortunately, we don’t see the remainder of his sporadic career in comics and Hollywood.

The documentary makes this worth owning while the combined feature is a more satisfying viewing experience.

Marc Alan Fishman: Age – It’s Not Just A Number

fishman-art-130907-150x171-5750892I know that amongst many writings for ComicMix, I am essentially still in diapers in their eyes (and I’m guessing, so too, perhaps is Emily). And as much as I don’t want to make that a jab at their graying hair, and preference for dinner around 4 PM, I can only assume that when they see the whipper-snapper trying to make a point about time and wisdom they might bruise a hip from chortling at the thought. But I welcome their guffaws… Because they know as well as I, that what I speak is the truth. It’s a simple truth, of course, but a necessary one to restate every now-and-again.

As folks my age rage against the MTVs and their kin, I choose to take a step back. Miley Cyrus gyrating on teddy-bears is exactly what a 20 year old with all the money and none of the responsibilities of life should be doing for attention. She’s an artist the same way any of us may have been at 20. She has the chops, but for now, none of the wisdom needed to produce something of value. John Mayer, now 35 is really coming into his own on his albums. No longer fluffy songs about “making love,” and growing up… now he turns inward, and deftly pushes outward his wry humor, and seamless guitar playing.

So too, do artists in our field of comics perform much the same. Mark Waid, as amazing as he’s been for years, seems to only gild his bibliographic lily with each passing issue of Daredevil. And where young buck artists for Marvel and DC are chugging away at their boards in an effort to ape the house-styles of the day, soon they will see that taking a risk on what they actually want to do will end up paying their rent just as well if not better. And screw you, I’m am optimist.

I dawned on this fact over this past weekend. Matt (my Unshaven Cohort) and I were invited to do a workshop on how to create comics for a batch of wonderful kids at a local art gallery. Their ages ranged from 6 to 14 (I believe), and we had a ball. One of the first things I did was ask each kid in the class to come up with an idea to draw out. Ideas ranged from showing Sonic the Hedgehog becoming “Dark Sonic” to a chicken facing an existential crisis. I was floored, if only because the young man who pitched it to me was so crystal clear on the concept. Why did the chicken cross the road? To die, of course. Later this spiraled out into the zombie chicken apocalypse, but I’m getting ahead of myself.

The longer I thought about those kids, and their concepts, I was brought back to my own childhood. I can clearly recall in elementary school I created a trio of crime-fighting, mystery-solving kids (“The Cool Kids”), who I would draw over and over and over. I never actually got them into any unwieldy adventures, nor intricate mysteries. I’d spent all my time perfecting their look. Eventually (as in, a year later), I’d met Matt in class, and soon thereafter, moved into creating a complex continuity of comic characters. Matt and I bathed over entire teams of ‘original’ heroes. I’m nearly certain it took mere days for us to combine our cadres into a single cavalcade of crime-fighters. And amongst all of those long-lost creations, I can still pitch “The Human Blade” to you as the metal-made-man of true justice.

In my head (as I’m sure within those fine minds we melded with at the gallery), there were complex stories at the waiting. Emotional journeys, epic battles, and small character moments to be had. It is only now, with years of toiling at the art table (and blank script pages), do I finally feel like I have the tools to produce something of value. It’s not that I haven’t made product prior, mind you. But as with all artists, it’s time that has taught me that everything before right now is only as good as it could have been. In lesser heady terms… with age comes wisdom, and with wisdom comes a superior piece of art. Every comic Unshaven Comics has put out has clearly shown a progression of our styles, our scripting, and our abilities as story-tellers.

In more than one of the reviews we received back from fans of The Samurnauts: Curse of the Dreadnuts #2, we heard that there was “real progress” from issue 1. Not that they didn’t like issue 1 (and our sales to date are a testament to that…), but there was a clear and present evolution of our art within the 36 pages. I know for myself, I really pushed myself to get feedback throughout my creative process – something a younger me was too prideful to do. It was as if the passage of time (and the experience of doing it several times before) made me more able to produce something with nuance and an attention to craft. Preposterous, perhaps, but true none-the-less.

Rodney Dangerfield didn’t find his voice, truly, until he was well into his forties. Jack Kirby helped define an entire era of comics, at about the same time in his life. The older my personal heroes such as Kevin Smith and Quentin Tarantino get, I’ve found their works to mature with them. It’s a fact of life, perhaps, no? With age comes wisdom and foresight. And for we, the creatives, so too does our work evolve. Age is not just a number, kiddos, it’s a state of our well-being when we put our pens to the paper.

SUNDAY: John Ostrander

MONDAY: Mindy Newell

 

Martha Thomases: My Take On Affleck

Thomases Art 130830Gold Art 130828Like my colleagues on Tuesday, Wednesday and Thursday I have been confounded by the negative energy directed at Ben Affleck after the announcement by Warner Bros. that he would play Batman in the next Superman film.

The Internets almost always hate every announcement from Hollywood that has anything to do with nerd culture. I remember the howls when Christian Bale was announced to play Batman in the Nolan movies, and how Heidi McDonald ran photo number eight from this slideshow in her defense of the casting. Worked for me.

The objections seem to stem from fans’ displeasure with some of Affleck’s earlier work. They especially cite Daredevil, which I kind of liked, even though it’s overwrought, and Gigli, which I haven’t seen. And don’t intend to ever see.

I love Ben Affleck. I have loved him at least since Mallrats and definitely Chasing Amy. When I had a chance to talk to Kevin Smith at some industry event, I told him I thought Affleck would be a great Superman. He agreed. He even said Warner Bros. wanted Ben for the part. That was more than 15 years ago.

Which brings me to the reason I believe.

I can only imagine that the Internet complainers never saw Hollywoodland. It’s the story of a private detective investigating the death of George Reeves, the actor who played Superman in the original television series. Affleck plays Reeves in a performance that, in my opinion, should have earned him an Academy Award nomination. He not only creates a layered, believable portrayal of George Reeves, the man, but he vividly recreates the Reeves we knew from television. The way he holds his body changes when he is on-camera and when he is off.

This performance alone should tell us that Ben can be both The Dark Knight and Bruce Wayne. I’m not the only fan of the character who thinks so. The actor previously rumored to be the next Batman agrees with me.

So does Patton Oswalt, whom I love very dearly (and chastely, from afar). He said:

“A Batman portrayed by someone who’s tasted humiliation and a reversal of all personal valences — kind of like Grant Morrison’s “Zen warrior” version of Batman, post-Arkham Asylum, who was, in the words of Superman, “…the most dangerous man on the planet”? Think for a second and admit that Ben Affleck is closer to that top-shelf iteration of The Dark Knight than pretty much anyone in Hollywood right now.”

That quote should establish Oswalt’s geek credentials pretty well. And make his point.

Like Denny O’Neil, I have my qualms about a movie that features both Superman and Batman. It could be fun, but I’m not sure that Zack Snyder, the director of Man of Steel, is the person to direct it. He has cited Frank Miller’s Dark Knight Returns as his inspiration, and that’s not my favorite interpretation of the characters. I like it when Batman and Superman are friends, when Superman’s optimism lightens Batman, and Batman’s realism ground Superman.

I’m less happy when they fight. Especially if they aren’t going to team up and save the world together at the end.

SATURDAY: Marc Alan Fishman

SUNDAY: John Ostrander

 

Michael Davis: Cowards

Gold Art 130828“Criminals are a superstitious cowardly lot.”

– Bruce Wayne

“Comic book fan boys are a superstitious cowardly lot and some are big pussies as well.”

– Michael Davis

Yeah, I said that.

I know quite a bit about pussies, so I speak from a place of wisdom. Although the vast majority of pussy I know about has almost nothing to do with comic books, less than that with fans and zero to do with boys or men for that matter.

Just to be clear, the big pussies I’m talking about for this particular rant are those winey little bitches whom think that their will should be the will of the industry. The latest fan bitch fest is over Ben Affleck playing Batman.

Fan boys are bitching like teenage girls who just had something bitter spilled all over their brand new braces.

Give that a sec…

Look, back when Warner Bros. (WB) announced Michael Keaton was going to be Batman, comic book fandom lost their freakin minds. The outrage was so immense that WB rushed outtakes of Keaton playing both Batman and Bruce Wayne to make sure the fans knew that Mr. Mom was up to the task.

Didn’t matter.

Die hard fans just did not give a shit. Nope, they just kept that outrage up until Batman broke every box office record they had at the time.

Then – and only then did the fan boys come around. Keep in mind this was 1989, before the Internet. I was on only 1 at the time and even I remembered that.

What?

People, it’s called acting. That’s what actors do. They act.

Yes, Daredevil was a horrible movie and Affleck had a great deal to do with that but everyone was excited as a 16 year old realizing he was right about to get some poon tang when they announced Affleck was going to be Daredevil.

It was only after seeing that movie fandom lost their minds, and rightfully so. Look, I’m a big a fan as anyone of Kevin Smith but let’s face it not all his movies are great. But because Kevin is so damn cool you almost never hear any crap from fans about his movies. That shit just boggles my mind. Kevin gets an almost universal pass from comic book fans no matter what he does. I mean a shit monster? Come on!!!

How asinine was that, eh, shit?

But give Affleck a pass?

Nope.

The last time I looked, the Oscar count was Affleck two and Smith zip.

Don’t get me wrong. I don’t really give a darn about Oscars, to me it’s just another Hollywood gimmick to sell tickets. I’d rather sit through a bad Kevin Smith movie than subject myself to some bullshit like My Left Foot for some other important movie. I like my movies to entertain me. Look, I lived Boys In The Hood so I don’t really need to spend any money on that or films like Peaches. Unless it’s a Bill Duke or Reggie Hudlin film, I stay away from black movies like I do gay sex.

The last real black film I saw not directed by those two men was Black Dynamite and that was just hilarious. Before that, I think the last black film I saw was Malcolm X.

But, (sorry Peter) I digress. I would sell my child for an Oscar. Not because I think it means anything but Oscar is a poon tang magnet. I’m a lot of things but stupid I am not.

Davis Art 130827Speaking of stupid, that’s what I think the outrage over Affleck becoming Batman is. Stupid.

Stupid with a capital Asshole.

My favorite actor in the world is George Clooney. When I met him I was like a little bitch, he’s just so damn cool! My favorite comic book character is Batman.

Imagine my sheer ecstasy when I heard my man crush was going to play Batman. I lost my mind!

But that movie was god awful. Now, my favorite singer in the world is Frank Sinatra and Oceans 11 (the original) is on my top ten films ever. What did I do when I heard Clooney was going to play Frank’s role in the remake?

I lost my mind!

This is the second time my all time favorite actor was about to play one of my favorite characters (Danny Ocean) and he nailed it!

But, if he didn’t I would have said so.

Like I said, my favorite comic book character is Batman and if I can wait and see what Affleck does so can everyone else.

Until I see him do it, I have nothing but high hopes that he can pull it off. Yes, he was horrible in Daredevil but that mofo was badass as Superman.

Yeah, he was Superman and he was great.

If you don’t believe me just check out the film Hollywoodland.

So until you see him fuck up Batman don’t assume he will. In the mean time shut the fuck up fanboy.

WEDNESDAY: Mike Gold Belabors This Point

THURSDAY MORNING: Dennis O’Neil Does That, Too

 

Mike Gold: Kill The Little Bastards

Gold Art 130612Spoiler Alert: In the current issue of Savage Dragon, writer/artist Erik Larson murdered a bunch of children. All I have to say about that is… it’s about time!

Larson’s book has been around about as long as Image Comics and presently is in its 188th issue, not counting crossovers, spin-offs and mini-series. That’s quite an accomplishment. It’s also one of the most consistently entertaining comics on the racks, and that’s even more of an accomplishment. He’s also a nice guy, but that’s only marginally important to my thoughts right now.

Back before there was Daredevil, there was Daredevil – in a sense, the world’s second homeless superhero. But instead of being homeless because his planet exploded went blooie, he was homeless because he was squeezed out of his own comic book by a group of know-it-all brats called the Little Wise Guys, a Bowery Boys-style knock-off that was introduced early on and swiftly reduced Daredevil to walk-on status in his own book. How cool were the Little Wise Guys? Well, they were named Curly, Jocko, Peewee, Scarecrow, and Meatball… and Meatball was killed off two issues later. I forget how, but I think it had something to do with marinara sauce.Gold Art 130612-2

Daredevil was one of the most visually interesting characters of the Golden Age, and that’s saying a lot. He was created by Jack Binder and immediately revised by writer/artist/editor Jack Cole shortly before Cole created Plastic Man and later enhanced by Charles Biro. I cannot fault publisher Lev Gleason for hiding the guy behind his wacky Greek chorus – we are compelled to assume they were the reason for the title’s continued success. The series lasted 134 issues, getting cancelled when the publisher went out of business. This was in 1956, the same year DC brought back and revamped The Flash. But Daredevil himself did not even appear on the cover of the last 86 issues.

Why they didn’t change the name of the book is beyond me.

Loyal comics fan that I am, I have always resented those little bastards. And, to my amazement and amusement, in the current Savage Dragon story arc Erik brought back Daredevil, his arch-villain The Claw, and the Little Wise Asses… and, rather early on in this month’s story, killed the obnoxious rugrats dead.

There’s a morality in Golden Age superhero comics, one that we’ve kind of lost over the decades. The Golden Rule of the Golden Age is “at the end, justice wins out.”

In this case, justice came from the mighty swift sword (well, computer and drawing board) of Erik Larson.

Thank you, Erik.

THURSDAY: Dennis O’Neil

FRIDAY: Martha Thomases

 

Paolo Rivera wins the 2013 Spectrum Fantastic Art Awards for Comics

Daredevil 10 Paolo Rivera

The 20th Spectrum Fantastic Art Awards were announced this evening at the awards ceremony at Spectrum Live, a weekend long celebration of fantastic art, in Kansas City. Paolo Rivera won for his cover to Daredevil #10. The awards for comics are:

Gold: Paolo Rivera, Daredevil #10
Silver: David Petersen, Mouse Guard Black Axe #4, Page 19
Jennifer L. Meyer, Aesop’s Ark, Ch. 2, P2
Paolo Rivera, Captain America #1
João Ruas, Fables #121

Congratulations to all the nominees and winners! Read the rest at Announcing the 2013 Spectrum Fantastic Art Awards | Tor.com.

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