Thursday, August 11, 2005
Thursday linkblogging.
Linkblogging. It's what's for dinner.
First things first, The Willamette Week has declared Mercury the "Best Hall of Superheroes." Um... Okay. Cool. They ran our picture and everything. When they took the photo the week before their "best of" issue, we kind of thought they were going to use our name to take a shot at the competition: "Best Portland Mercury" or something like that.
Kind of interesting; kind of sad: Jim Valentino offers a hall of swipes of the same cover image.
At The Hurting, Tim O'neill writes about WHITEOUT, a graphic novel I drew back in the 20th century. What's weird for me is that one of the pages he reproduces is the one I drew the day I first visited Studiosaurus, the comic-book studio whose folding led us to form Mercury. That was the first time I met Matthew Clark, and I used him as a model for the goateed McMurdo communications worker that Carrie deals with.
Rick Geerling seems reasonably happy with it, too, but buyer's remorse could still set in.
Valuable stuff over at Pete Woods' Livejournal.
A couple of reviews of Jeff Parker's first Fantastic Four story: Silver Bullet | Well Read Press
Only one Flytrap review to link this time: Steven Grant's Permanent Damage gives it the A-OK, and notes that my collaborators and I are leading him to reevaluate the form. Good. I think it's a GREAT form, myself. Short comics stories are one of my favorite things to illustrate, but I haven't found an venue for them that makes sense to me. Chapbooks or mini-comics or demi-comics or "small-batch comics" (my preferred term) are handy, satisfying objects that can deliver a complete story, beginning, middle and end. From an artist's view, there's none of the unfortunate recontextualizing that can happen in an anthology. From a publishing standpoint, the upfront investment is near zero, and there's no big inventory to store or get nailed with at tax time. It's not a big money maker, of course. But in black and white comics, money usually doesn't happen until the trade is collected, anyhow.
Update on David Hahn writing the X-men: David's collaborator on X-men Unlimited number eleven, will be David Aja. I understand that this was already in the solicitations. The blogger is always the last to know.
Paul's got some San Diego photos. I look particularly spazzish.
Finally, here's Salon.com discussing one of my favorite comics, Finder by Carla Speed McNeil.
First things first, The Willamette Week has declared Mercury the "Best Hall of Superheroes." Um... Okay. Cool. They ran our picture and everything. When they took the photo the week before their "best of" issue, we kind of thought they were going to use our name to take a shot at the competition: "Best Portland Mercury" or something like that.
Kind of interesting; kind of sad: Jim Valentino offers a hall of swipes of the same cover image.
At The Hurting, Tim O'neill writes about WHITEOUT, a graphic novel I drew back in the 20th century. What's weird for me is that one of the pages he reproduces is the one I drew the day I first visited Studiosaurus, the comic-book studio whose folding led us to form Mercury. That was the first time I met Matthew Clark, and I used him as a model for the goateed McMurdo communications worker that Carrie deals with.
Rick Geerling seems reasonably happy with it, too, but buyer's remorse could still set in.
Valuable stuff over at Pete Woods' Livejournal.
A couple of reviews of Jeff Parker's first Fantastic Four story: Silver Bullet | Well Read Press
Only one Flytrap review to link this time: Steven Grant's Permanent Damage gives it the A-OK, and notes that my collaborators and I are leading him to reevaluate the form. Good. I think it's a GREAT form, myself. Short comics stories are one of my favorite things to illustrate, but I haven't found an venue for them that makes sense to me. Chapbooks or mini-comics or demi-comics or "small-batch comics" (my preferred term) are handy, satisfying objects that can deliver a complete story, beginning, middle and end. From an artist's view, there's none of the unfortunate recontextualizing that can happen in an anthology. From a publishing standpoint, the upfront investment is near zero, and there's no big inventory to store or get nailed with at tax time. It's not a big money maker, of course. But in black and white comics, money usually doesn't happen until the trade is collected, anyhow.
Update on David Hahn writing the X-men: David's collaborator on X-men Unlimited number eleven, will be David Aja. I understand that this was already in the solicitations. The blogger is always the last to know.
Paul's got some San Diego photos. I look particularly spazzish.
Finally, here's Salon.com discussing one of my favorite comics, Finder by Carla Speed McNeil.
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