Robert Kirkman, the brain behind THE WALKING dead talks to us about the comics, the TV show – and if the two will ever meet. Or better yet, what about a WD movie? Plus ARGO‘s director-producer-star, Ben Affleck, explains why that film is generating so much Oscar buzz, and why Marvel is using A List talent on new B List books.
After two previous attempts, Matthew Perry has broken the alleged “FRIENDS Curse” and struck comedy gold again with NBC’s GO ON. Matthew shares the secret of mixing comedy and drama and making it all work. Plus Andrew Lincoln and Chandler Riggs tells us how the cast of WALKING DEAD reacts when one of their fellow stars meets their fate.
Star of Airship 27 Productions’ The Ruby Files, pulp p.i. Richard “Rick” Ruby took some time out of his hectic caseload to answer another reader’s question.
Sweet Thing in New York wants to know if Rick ever plans to settle down and get married?
The third season of AMC’sTHE WALKING DEAD has struck, and we begin our extensive look at what waits ahead. To start, EP Glen Mazzera along with actors Steven Yeun and Andrew Lincoln tackle the time jump and how they managed to pick up the pace for the new episodes. Plus George Romero says he’s coming to Marvel, and those bumper stickers paid off – Agent Coulson DOES live.
The New York Comic Con has come and gone like a whirlwind, leaving me, as always, gasping for breath (and craving a week of sleep) as I recover from the huge crushes of people, hectic dashes to see friends or get places on time, and general excitement. No con is perfect but I am pretty fond of NYCC, in part because the sheer size of it means every moment can be filled with something fun (if you have the energy and aren’t afraid of crowds) and in part because I love visiting New York City. Even if you’re in town for the con, it’s not a bad idea to leave the Javits Center at least once or twice to experience a bit of the rest of New York.
In keeping with the spirit of what my brain feels like after three to four days of non-stop excitement and unable to remember in what order anything happened and/or to form coherent sentences, I feel like it’s proper to talk about the highs and lows of my NYCC/NYC experience in a randomly ordered bullet-point list. Ready? Let’s go!
Highs
• Terry Pratchett is in town! Terry was here to promote his newest novel, a non-Discworld book called [[[Dodger]]], and it was, as always, delightful to see him. While he was at NYCC, for me the high was not his NYCC appearance (we’ll get to that in a second!) but his appearance at the Barnes & Noble in nearby Union Square. Despite a pretty full house, the store was so quiet you could hear a pin drop (or Terry and his business manager Rob bantering with each other on stage) as everyone listened to an excerpt from the book and a fun Q&A.
We learned that Dodger (which came out in the US on September 25th, so you can go get it now!), is a young adult book in which, among other things, Charles Dickens meets the boy who will inspire him to write about The Artful Dodger. Terry and Rob talked about researching the history of Victorian London, including the fact that the streets of London at that time were so terrifyingly bad that “they made Gangs of New York look like kindergarten.” They also talked about locating the oldest gentlemen’s outfitters in London, and discovering that the shop had not only provided Sir Robert Peel with his personal clothing, but also designed the original police uniforms – a fact which made its way into the story. From the excerpt and talk, the book (which I have but have not yet read!) sounds great.
Other information shared with the crowd is that Terry fully intends that there be a sequel to Dodger; that he has been working on the second Long Earth book with co-author Stephen Baxter; and that (as some may have heard already) he has formed a production company with business manager Rob Wilkins, Managing Director and producer Rod Brown, and daughter and fellow writer Rhianna Pratchett. Upcoming projects include The Watch series (a 13 episode series described in a nutshell as “CSI: Ankh-Morpork”) and the Good Omens miniseries, along with more upcoming Discworld adaptations. Yay!
• Happening upon awesomeness while randomly wandering the show floor. This included running into and geeking out about the con with the super-nice Dan Slott, Amazing Spider-man writer; walking through the DC booth at just the right time to snap a picture of Stephen Amell and the rest of the Arrow cast and crew (though sadly I did not have a signing ticket); discovering the terrifyingly lifelike (and life-sized) Chris Hemsworth Thor at the Midtown Comics booth (a Madame Tussaud’s figure); and spotting and snagging the last signed copy of The Nao of Brown by Glyn Dillon at the Abrams ComicArts booth (which I’d been meaning to pick up after reading a great review and seeing some of the beautiful art).
• Joe Kelly cheerfully signing his way through half of my Joe Kelly Deadpool issues. For some reason, at the last con where I saw Joe, I’d only brought along half of the run for him to sign (well, okay, I know the reason – those books get heavy; or, as Joe said, “you’re basically carrying around a block of wood”). So this time I brought the other half, and had a great time chatting with Joe as he signed and signed. Not only is Joe tied with Fabian Nicieza as my all-time favorite Deadpool writer, but he’s also done a lot of awesome things since then, so it was great to catch up with him at the Man of Action booth (and he mentioned that Deadpool appears in his Ultimate Spider-Man animated series, which I did not know. Ooh!).
• Attending the fantastic book launch for Ellen Datlow and Terri Windling’s newest anthology, After: Nineteen Stories of Apocalypse and Dystopia. Like I said, it’s nice to get out in NYC a little bit even at con-time, so when I heard that Ellen was having a book launch on Thursday, I had to pull myself away from the show floor and go. The event, at Books of Wonder, was great, with about nine of the authors reading from or discussing their stories, and a signing afterwards. After includes stories from a host of previously published authors, including Gregory Maguire, who also wrote Wicked, so I picked that up for him to sign as well. The stories sound great and have been getting excellent reviews, so I’m looking forward to reading my copy (which now features a sad-looking “dystopian flower” as drawn by author N.K. Jemisin at my request, and further graffiti’d by Genevieve Valentine).
• Snagging some con merch and freebies, including two adorable new t-shirts (one of which is a sad-looking hedgehog holding a “free hugs” sign, and how can you possibly not love that?), and the Cable/Deadpool Heroclix figure, which I hadn’t been able to find for anything under $25 and got for $3 at the con. Score! I also got several ARCs and a free Phantom Tollbooth poster – and I love that book. Yay!
• The joys of Artist Alley. Artist Alley is really my favorite part of any con, and I rarely manage to spend as much time there as I would like. I had a lot of fun while I was there this year, though, catching up with friends, chatting with the ever-amusing Bill Willingham; finally meeting Ed McGuinness (a favorite Deadpool artist who had not been at any of the cons I’ve previously attended, but was happy to be at this one and mentioned he’d love to get back on the Deadpool book. I approve of this idea!); and talking with V for Vendetta co-creator David Lloyd about his newest project, Aces Weekly(check out the ComicMix review here). Aces Weekly is “an exclusively digital comic art magazine which features some of the world’s finest sequential art creators” from all over the world, and sounds really interesting. It just launched at the beginning of October, so it’s easy to check it out now and catch up on the first couple of issues. David also kindly drew me a V sketch, which made me ever so happy. I also had fun hanging out with Reilly Brown, particularly since I was actually costuming as his and Kurt Christenson’s character the Ice Queen from their fantastic digital comic Power Play (available on ComiXology – check it out!) on Friday. Another character from the comic, Gowanus Pete, mysteriously showed up to be in a picture with me (who was that man behind the mask?), which was pretty fun as well.
• Attending cool panels like the Marvel prose novels panel, in which Axel Alonso, Stuart Moore, Peter David, Alisa Kwitney, and Marie Javins talked with moderator James Viscardi and the audience about the popular storylines they are adapting as almost a hybrid of the comics and movie worlds. I really liked the Civil War adaptation by Stuart Moore, and am super-excited about the upcoming ones, which include “New Avengers: Breakout” (Alisa Kwitney), “Astonishing X-Men: Gifted” (Peter David), and “Iron Man: Extremis” (Marie Javins). Alisa talked about her research into things like how the Helicarrier actually works and how to make an impossible feat of archery seem plausible, also noting that one change she’s made from the comics is that in the prose timeline, Hawkeye is still alive and appearing in the story. Peter talked about his use of Kitty Pryde as a means of sharing new information with the reader, and how through this she really became the heart of the story and his favorite character to write. Marie noted that, like the movie storyline, in her novel Iron Man’s identity will be public, and that she’s having fun trying to channel “Warren Ellis mixed with Robert Downey Jr.” for her work, which she finds “very funny and very disturbing.”
Lows
• The placement of Terry Pratchett’s NYCC panel. Don’t get me wrong – Terry and Rob were as entertaining as always, and I was delighted to see them. But for the first time in my experience, NYCC committed a major error in planning when they stuck the best-selling adult fiction author in the UK in a giant echo-y hallway next to a music stage (which started playing loud music half-way through) for his event. I can’t even imagine what they were thinking, and can only assume it was done in complete ignorance by someone who has mysteriously never heard of Terry and couldn’t be bothered to look up whether his panel was likely to be popular or anything else about him. Even if they didn’t realize that Terry’s Alzheimer’s necessitates that he have a lavaliere microphone rather than a hand-held, or that he often speaks rather softly and so a loud hall is not the best venue for him, such placement is unforgiveable, and I hope NYCC never makes such an asinine mistake again. Honestly, I doubt they’ll get a chance, since I’m sure nobody presenting on this stage would have been happy to be put there or want to come back. Also, I will note that the seating of that stage looked to be similar to the prose novel panel seating, which was in a nice quiet room and about 2/3 full. Terry’s panel, on the other hand, was overflowing with people sitting and standing in the back, straining to hear, some of whom, I am sure, had not had an opportunity to see him before and were forced to miss out on part of what is a wonderful experience when it can be heard. For shame, NYCC!
• The broken escalators and bottlenecks. I know there’s only so much one can do when working with a set layout, but due to broken escalators, the wait to get from one floor to the next, particularly on Sunday, was claustrophobic and glacially slow. Also, the placement of the TMNT tunnel display, I am told, created a huge bottleneck and traffic jam. Very frustrating.
• The lack of cell service. It’s become a known fact and common complaint around the Javits Center that the cell service from location to location is spotty and unpredictable. It makes it almost impossible to meet up with friends and coordinate with people, even if you try to do so before going inside. Lousy cell service caused me to miss at least two or three friends I’d have liked to see, and almost made me entirely miss seeing a good friend who miraculously found me after I’d unsuccessfully looked for him for two days in a row (and had my calls not go through to his phone). The Javits is a big and popular convention center; they should look into improving this service ASAP.
• Con funk OMG. Seriously, people. Deodorant. Showers. Perfume or cologne or a constant spray bath, whatever it takes. Please, stop stinking up the con and causing me to accidentally inhale all of your nasty B.O. when I take a breath. I’d really, really appreciate it.
Well! Despite the few low points (of which the placement of the Pratchett panel was the most egregious), I had a great time at the con, and am already looking forward to next year’s. I do have a little request, though – my camera memory card is giving me error messages, and so, tragically, I may have lost 2/3 of my photos from the con (which would make me soooo sad). If you did happen to see me and take a picture, and are reading this, please feel free to send any photos to emily@comicmix.com. Thanks!!
And until next time, Servo Lectio!
TUESDAY AFTERNOON: Michael Davis’s Escape From France!
WEDNESDAY MORNING: Mike Gold’s Escape From New York!
I regret that I must convey the sad news that Michael O’Hare passed away today. He suffered a heart attack on Sunday and was in a coma until his passing this afternoon. This is a terrible loss for all B5 fans and everyone involved with the show wishes to convey their condolences to the O’Hare family. He was an amazing man.
Michael O’Hare was born in Chicago, Illinois. He attended Harvard University, majoring in English literature, and studied at the prestigious Juilliard School of Drama, as well as with Sanford Meisner. He appeared in a number of theatrical productions on Broadway and in the New York area, including an acclaimed revival of Shaw’s Man and Superman with Philip Bosco and originating the role of Col. Jessup in the original stage version of A Few Good Men (the role played by Jack Nicholson in the film version) He was the first white actor nominated by the black theater community of New York for the AUDELCO Award for the Best Actor for his performance in the play Shades of Brown which examined the effects of apartheid in South Africa.
In 1992, he was cast in Babylon 5 in the lead role of Commander Jeffrey Sinclair. O’Hare remained with the series for the first season, and came back for appearances in the second and third season. He had various appearances in other TV shows, from Law & Order to The Trial Of The Incredible Hulk.
I had a few conversations with Michael over the years, though I hadn’t seen him in almost half a decade. He was a kind and gentle man, and much funnier than his roles would have made you think. And his voice makes for one of the best intros to a science fiction series ever:
New York, N.Y. (September 25, 2012) –Captain Action Enterprises is proud to announce a New York Comic Con convention-only offer: fans and collectors receive free comics with every Captain Action toy purchase. These comics include comics showcasing characters featured in the toy sets, including Spider-Man, Captain America, Hawkeye, Thor, Loki, and Captain Action.
And the first 66 customers will receive special autographed comics. These comics are signed by top creators including Walt Simonson, Roger Stern, Beau Smith, Sean Chen, Mark Wheatley and more.
“New York Comic Con and ReedPop have been very good to us, and this is one small way of giving back,” said Ed Catto, Retropreneur and co-founder of Captain Action Enterprises.
Additionally, the Captain Action booth will be giving away stress ball “brains” to celebrate the return of Captain Action’s arch-foe, Dr. Evil. As an insidious alien, Dr. Evil’s striking countenance is topped off by his creepy exposed brain. Available while supplies last, these Brains will be given away to all fans and no purchase is necessary.
“This will be a busy year for us at NYCC”, said Joe Ahearn, co-founder of Captain Action Enterprises. “We’ll be debuting our second wave of Toys featuring Dr. Evil, Thor and Loki and our new merchandise from Titan. We’ll also have the legendary Walt Simonson and pulp author Jim Beard on hand to autograph copies. Oh, and we have a panel and a big announcement too!”
Captain Action is based on the action figure created in 1966 by Stan Weston for Ideal Toys and sold internationally. The hero came equipped with a wardrobe of costumes allowing him to become many different heroes such as Batman, The Lone Ranger, the Green Hornet and many more. In 1967, Captain Action proved so popular that the line was expanded to include a sidekick, Action Boy and a blue skinned alien foe with bug eyes, the nefarious Dr. Evil. The following year, DC Comics licensed the character from Ideal and published five issues of Captain Action featuring industry luminaries such as Jim Shooter, Wally Wood and Gil Kane.
The line has experienced as strong resurgence, complete with an all-new toy line that debuted earlier this year.
“For our gift-with-purchase, we’re offering the best recent comics as well as vintage treasures. Some gems include vintage Kirby Thors and a Romita Captain America, guest-starring Spider-Man. We even have a few Wally Wood issues in there. It’s our hope that we’ll reward collectors and provide a unique gift to younger fans, “ said Catto.
Captain Action is at booth #3136. The New York Comic Con is held at the Javits Center in New York City, from October 11 – 14, 2012.
I’ve been a fan of Reilly Brown’s artwork since I first came across it in Marvel’s Cable & Deadpool, and have been following it off and on ever since. There are a lot of artists I like out there, but Reilly is consistently a favorite of mine – his characters’ expressions and the way his drawings capture the energy and emotion of whatever’s happening on the page really appeal to me. I also consider him among the pioneers of the digital comics medium. One of his current projects, Power Play, is a digital comic that was the first effective use of the medium that I had ever seen. To pull from my thoughts when I reviewed the Power Play preview in 2011:
“This is the kind of thing I geek out about, because it excites me to see the potential of the medium being explored to enhance the reading experience. In places it reminds me a bit of the Watchmen stop-animation type video comics they did around the time of the movie, only I never had the patience to watch all of those, since I’d read the book a million times already and they moved too slowly from one frame to the next. But having the ability to read at one’s own pace, and still get the animation-like effects now and again, is fantastic. Being able to see one or two panels at a time, zoomed in or close up, is great. I love the panning from one part of a panel to another, and the fading from full color to monochrome for effect. Having the direction of the screen shifts follow the action is cool; or having the shifts follow the narrative and captions. Also I like how Reilly has the characters in similar poses in a couple of frames, but shifting from one frame to the next gives you the action of a head turn or tilt like in animation.
This is truly the future of how digital comics should be read. I definitely wish I had an iPad so I could experience it in a bigger window, but with only a smartphone, this is hands-down the best way to see digital comics on a hand-held device. For comparison, I downloaded DC Comics New 52 #1 preview and tried reading it on my Droid 2. Now, I know on a computer the usual format is fine; but on a smartphone? It’s fairly unreadable. All the zooming in and panning around necessary just to see one page is a total pain, and not something I have the patience (or eyesight) for. The Power Play layout is infinitely better.”
Given Reilly’s dynamic art and his excellent use of the still-fairly-new digital comics medium, I always consider him one to watch. I’ve also been telling him since something like 2009 that I was going to sit down and interview him one of these days. Finally, at this year’s Baltimore Comic-Con, we made it happen. So here we go!
Emily: So, Reilly, what’s your favorite project that you’ve ever done?
Reilly: My favorite project that I’ve ever worked on is Power Play. I just love doing any creator-owned stuff, especially when I get to sit down and make my own character designs. And not having to feel like the shadows of all of the other decades of awesome artists that have worked on a project before me are looming over me is really freeing. It’s also fun to play around with the digital media and things like that.
Emily: Tell me, what was the genesis of Power Play?
Reilly: It started with me and Kurt Christenson, the writer; since we were both in the same studio at the time, and we’ve been friends for years, one day I said, “You know what, why don’t we do a project together?” and he was like, “Yeah, man, I’d be into it.”
When it started out, we just wanted to do something small, just a quick little simple thing; but as we were spitballing ideas, it turned into this idea that we realized could be really cool if we tried to turn it into something big. The basic idea is that I really wanted to do a story that is based in New York and really uses New York, the real city, as a backdrop. Because so many comics take place in the city but “New York” is just generic buildings in the background or whatever. When I’m walking around the streets, I just see so many cool things – like architectural things, or construction things, or just random things on the street, that are totally normal, but I don’t always think about them when I’m just sitting at my drawing table. And so many of the comics writers don’t even live in New York, so – you know, how do you really make use of a place if you’re not there? I wanted to incorporate New York into a comic.
Emily: How long have you been in New York?
Reilly: I grew up in New Jersey, so I’m right across the river, and I went to school in Virginia but then I moved back after I graduated. So around January 2005 I moved back to New Jersey, with a studio in New York; and I just really wanted to do a story where the writer and I walk around town and plot things out as we go, and just, say, point to a thing, and say, “Okay, the character could jump from that building to that lamppost; and then take a photo reference while we’re there – I actually have photos of most of the backgrounds.
Emily: I didn’t know you actually walk around to plot the stories. That’s pretty cool. So tell me, what’s your favorite hangout or place to go in NYC?
Reilly: There are so many good places to hang out, and it changes all the time. Crocodile Lounge is always a stand-by for me, to go play some skee-ball; and you get a free pizza with every beer. Actually, that’s the bar they go to in the first issue of Power Play; where Mac turns into beer. And…I don’t know, there are too many awesome places to choose from — and half the time, the place is not going to be there in six months.
Emily: That’s true. So who’s you’re favorite character from Power Play, and how does he or she relate to the city?
Reilly: That’s a hard one. I love Gowanus Pete, and the Ice Queen, and Mac…all of the characters are so much fun to draw, and I just feel so close to them.
Emily: Who was the first one you came up with?
Reilly: It was probably either Mac or Gowanus Pete… or the Ice Queen. The studio’s right on the Gowanus Canal, and I remember Kurt and I were having a conversation trying to come up with different characters and their powers as we were leaving the studio and walking to get some lunch. I wanted all of the characters to have kind of goofy origins based on things or places in the city, and just take it to a ridiculous degree; so we were around the Gowanus Canal, which is the nastiest body of water in the country, I mean, it’s horrible. It’s like, multicolored; it’s really just a run-off ditch for a bunch of different waste dumps and things, seriously – look it up. Every now and then you’ll see them testing it to see the different acidity levels and different bacterias and diseases and things people find in there, like they’ll find a dead shark in there, or something like that, or a tiger skull; weird things. So the joke I’ve always had was that if anyone fell in there, they would be horribly mutated – so Kurt and I were walking around talking about different characters and different ideas and powers or personalities, and as we were crossing the Gowanus, there was a really big poster or mural or painting or whatever of the silhouette of an octopus, and Kurt looked at it and said, “Well that’s a character,” and I was like, “Yeah, that’s Gowanus Pete right there.”
Emily: That’s great. You’ve done a really cool digital thing with Power Play – tell me about your digital process and how that all happened; and what your thoughts are on digital comics.
Reilly: The thing that really drove me to do a digital comic was pretty much that no one else was doing it. I saw an area that seemed ripe for comics and for comic artists to play around with, and nobody else seemed to be jumping on it. There are a couple of little webcomics here and there that do stuff; but none that really stood out or that did it for a long-term thing.
Emily: I think we should be making a distinction here; because Marvel and DC and all are doing digital comics, in the sense of putting their stationary paper comics online to be viewed with digital readers; but what I’m thinking of is the way that you’ve manipulated the panels and images with Power Play. So that’s what we’re talking about here.
Reilly: Right; well ComiXology came out, and they were translating all of these Marvel and DC comics, so the typical, mainstream, superhero comics were finding this new digital home through their application. And I was looking at this, thinking, “This is a really cool thing; somebody is going to see this and start making comics designed specifically for ComiXology, or this type of digital format, and they’re going to do it in a way that uses the new digital storytelling techniques.
The thing is, ComiXology did a great job of translating the comic to the iPad, and there are other companies that have tried doing that, but they’ve seemed to trip over the fact that the comics page and the iPad screen, or even the computer screen, aren’t the same shape. Everybody else was stumbling over this, and you had to scroll, or everything was shrunk too small, or you had to zoom in yourself, or there’d be all sorts of problems with it; and ComiXology had found a pretty simple way around that, and it worked great, and it looked great. Yeah, there were a few hoops they had to jump through, but the way they solved those problems; like their guided view thing, you know, where they would actually zoom in on a part of an image that needed to be zoomed in on; and then they would zoom out for the rest of it; or it would pan from one thing to another, and fade from one thing to another, was great. And I thought, “Man, look at all of this stuff they’re pretty much doing by accident at this point; somebody’s going to come around and do this on purpose and it’s going to make an awesome comic.” But nobody was doing it, so then I thought, “Well maybe I could do it. Maybe I’ll be the guy to do that!”
So that’s why we started working on Power Play. I was talking about how we came up with the idea for Power Play; and one of the things we wanted to do was to take advantage of the new mediums. You know, one of the big problems in the entire economy right now is that young people don’t leave their houses or spend money. They’re just on Facebook, downloading things for free, and sharing with their friends, and it’s at the point where if something is not on Facebook, nobody’s going to see it, or at least not as many people as should see it. So we said, “Whatever we do, we want to get it in front of as many people as possible, so let’s come up with a way of doing a really great thing that we can link through Facebook, and everyone can share it; and that takes advantage of that. “ And ComiXology was developed so perfectly for that. So we jumped on that.
Emily: I still point to your comic to show people how this can work. I know there may be a few now, but it’s still not as big as I would expect.
Reilly: You’re right; I’m surprised more people haven’t jumped on it. There are a few others that were first adopters like me, like Alex de Campi and Christine Larsen (Valentine). They actually beat me to the punch; we were already working on Power Play when I saw that come out, and I was like, “Aw, crap, we’re not the first anymore! We’ve really gotta get this thing going!” There’s also David Gallaher and Steve Ellis’s Box 13, which ComiXology actually hired them to make; so it’s really made for their app. And reading that, you really see how their [Steve & Dave’s] thought process is developing on how to use it. How they are learning. At first, it was just as simple as, let’s just make the panels the size or shape of a screen. But then they started seeing more potential. I was in the same building – Steve Ellis’s art studio was just down the hall from mine – so I was working on Power Play while they were working on that, so we’d bounce ideas off of each other. So it was cool to see how some of that stuff ended up playing in their comic.
Most recently, Marvel had their Infinite Comics, which I was happy to be a part of. They have the big AvX [Avengers vs. X-Men] story, and I’d been talking about what I’ve been doing with Power Play to Marvel for awhile, like, “Let me do one of these for you!” I talked to all the editors… Nick Lowe was the one who was really spearheading it over there; or at least when I was talking to them Nick Lowe and Jordan White were the editors that I worked with on that. They’re awesome for seeing that potential and taking a risk, because, you know, Marvel doesn’t often do stuff like that, where they don’t know how it will turn out; and it’s pretty impressive to see a big company like that try to take a risk on something that’s so new. But at the same time I was doing this, Mark Waid was starting his Thrillbent thing, so he was talking all about it. So he wrote the three AvX Infinite installments, and I drew the third one; which was cool. And that was all ComiXology stuff, and it’s all just like how Power Play was done.
Emily: That’s fantastic. I’ll have to look that up, because I haven’t seen it yet. So now, what does the future hold for you?
Reilly: Well I’m not exclusive with Marvel, but I’m currently working on some Scarlet Spider stuff, and we’ll see what happens from there. I’ve still got Power Play going on, and I’ve got some other side projects… I have so many things going on right now!
Emily: It sounds like it! Well Reilly, thanks so much for talking with us , and I look forward to seeing what you come up with next!
…And until then, ComicMix readers, remember to tune in next Tuesday for my interview with Dean Haspiel, and Servo Lectio!
TUESDAY AFTERNOON: Why Does Michael Davis Read Comics?
The Georgia Museum of Art is planning an exhibit of famed illustrator for MAD Magazine, comic books, movie posters, record album covers, and more, Atlanta native, and University of Georgia alum, Jack Davis to run from November 3, 2012 until January 6, 2013 in Athens, Georgia.
Georgia Museum of Art to celebrate illustrator Jack Davis with fall exhibition Athens, Ga.—The Georgia Museum of Art (GMOA) at the University of Georgia will present the exhibition “Beyond the Bulldog: Jack Davis” from Nov. 3, 2012, to Jan. 6, 2013. Organized by guest curator Patrick Dean, a cartoonist himself, who sits on the board of the Jack Davis Foundation, the exhibition goes deeper into Davis’ career than the sports and caricature work for which he is best known, focusing on his black-and-white drawings in particular. This exhibition is also part of UGA’s Spotlight on the Arts festival, to be held Nov. 3–11.
Perhaps best known in Georgia for his depictions of Southeastern Conference mascots tussling, Jack Burton Davis Jr. (b. 1924) has had a lengthy career in illustration and cartooning, with an immediately recognizable style and an influence that extends far beyond his home state. Having published his first cartoon at the age of 12, Davis studied with the artist Lamar Dodd in the University of Georgia’s art school, which he attended on the G.I. Bill, and honed his skills drawing for the Red and Black (the student newspaper) and Bullsheet, an Athens humor publication. After graduating, he moved to New York, where he attended the Art Students League before landing work with William Gaines at EC Comics.
Famed in particular for his speed and a tendency to create images overflowing with colorful characters, he was one of the founding artists of Mad magazine, supplied covers for Time and TV Guide and designed album art and movie posters aplenty. Davis created his first art for UGA’s athletics program in 1948, when he drew Coach Wally Butts for the front and back of that year’s media guide, and the relationship has lasted ever since.
Dean said, “Davis’ prolific career goes further back than most people realize. Some of this exhibition displays his work from EC Comics, including two complete comic stories for museum visitors to read. These pages show his skill as a sequential artist, with an emphasis on people’s pained and terrified faces and hand gestures. Still, even in these comics, his familiar style hints at his trademark humor and warmth. There’s also something particularly southern in his work of all eras, like his running figures with clumps of red clay stuck to their feet.”
This exhibition attempts to show Davis’ range by bringing together a selection of his original work that demonstrates his breadth of subjects and his skills as an artist focusing on American popular culture.
Dean continued, “The point of the show isn’t to shun his more popular sports drawing, but to bring attention to his work that may not be as well known to the general public. Visitors may recognize some of these images, but I hope they appreciate the level of detail Davis put into his work. Some of that detail gets lost when the images are shrunk down and printed on paper stock of varying quality. Studying Jack Davis’ crosshatching and brushwork will be a real treat to anyone who’s admired this man’s work.”
Dean will speak on Davis’ career Sunday, Nov. 4, at 3 p.m. at the museum, with a reception to follow.
This exhibition is sponsored by the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art.
For high-resolution images, reply to this email or contact Michael Lachowski at 706.542.9078 or mlachow@uga.edu.
##
About the Georgia Museum of Art Partial support for the exhibitions and programs at the Georgia Museum of Art is provided by the Georgia Council for the Arts through appropriations of the Georgia General Assembly. The council is a partner agency of the National Endowment for the Arts. Individuals, foundations and corporations provide additional museum support through their gifts to the University of Georgia Foundation. The Georgia Museum of Art is located in the Performing and Visual Arts Complex on the East Campus of the University of Georgia. The address is 90 Carlton Street, University of Georgia, Athens, Ga. 30602-6719. For more information, including hours, see www.georgiamuseum.org or call 706.542.GMOA (4662). Mailing address: Georgia Museum of Art 90 Carlton Street Athens, GA 30602 706.542.GMOA (4662) www.georgiamuseum.org
Copyright (C) 2012 Georgia Museum of Art, University of Georgia All rights reserved.
New Pulp Author Vito Delsante returns to Trip City’s Steel City Noir for another bite-sized pulp tale. Beauty Hides Her Way begins and ends as so many pulp tales do… with a woman.
(Based on Actual Events)
“I have to know. Why Pittsburgh?”
“What do you mean?” she asked. “Like, why did I choose Pittsburgh?”
“Yeah. Why here?” I stopped, raising my head off of the pillow slightly to look out of the open window.
There, on the horizon, thousands and thousands of lights that symbolized better futures and presents than the one I was in right now. “You could have gone to New York. LA. But…you’re here, in ‘Nowheresville.’”
“Oh, baby,” she said as her lips curled up into the smile of a killer, “I didn’t choose this city. The city didn’t choose me.” She grabbed the half-smoked cigarette from her bedside ashtray. She lit it again, the renewal of a promise made. She exhaled easy, like the smoke was a part of her and the air was the poison.
“Honey, this is as far as my money took me, and I decided to stop.” She laughed. She didn’t giggle, or snicker. She laughed like the joke was so obvious to everyone but me.
I wanted to hate her for that but it was far too late for any semblance of sentiment now.
Want to read more? Of course you do.
You can read the rest of Steel City Noir: Beauty Hides Her Way here.
