There’s a great interview with writer Matt Fraction (Invincible Iron Man, upcoming Thor) at GQ’s website. Yes, it’s 11 pages long, but if you’re at all interested in the economic truths of creating a cult fave series like Casanova, or the Marvel/Disney merger, this is a must read.
Over at Broken Frontier is my interview with British writer Peter Milligan, who has written everything from X-Force (during it’s controversial phase), Human Target and now Hellblazer and Greek Street for Vertigo. We mainly chatted about his new mini-series with Radical, After Dark and working on it with Hollywood bigwigs Antoine Fuqua and Wesley Snipes.
While you’re at BF, check out the latest issue of the weekly mag, The Frontiersman. Scott Pilgrim, Jonah Hex, Webcomic Factory and more. Download the PDF for free. Yay!
Interview with writer Judd Winick below about next month’s resurrected-Robin animated film. The first issue of his Red Hood mini-series has just been released and is also worth checking out.
WRITER JUDD WINICK BRINGS CHARACTERS FROM PAGE TO SCREEN IN “BATMAN: UNDER THE RED HOOD,” THE NEXT DC UNIVERSE ANIMATED ORIGINAL FILM COMING TO DVD JULY 27, 2010
Judd Winick has returned to Gotham City with a vengeance. The award-winning cartoonist has successfully transitioned one of his benchmark storylines from comic book pages to animated film with the upcoming release of Batman: Under the Red Hood, the latest entry in the popular series of DC Universe Animated Original Movies.
Born and raised on Long Island, New York, the University of Michigan graduate gained national fame as a cast member of MTV’S The Real World, San Francisco in 1994. In the wake of the death of his Real World roommate and friend, AIDS activist Pedro Zamora, Winick embarked on a national AIDS education lecture tour. Later, the lecture and his friendship with Zamora was documented in his award-winning graphic novel “Pedro And Me.”
Winick next created his original comic book series, “Adventures of Barry Ween, Boy Genius,” and then began a long running stint as one of the top writers on mainstream super hero comics. Winick has scripted such titles as Batman, Superman, Green Lantern, Trials Shazam, Green Arrow and Outsiders (for DC Comics), Exiles (for Marvel) and Star Wars (for Dark Horse). He also was the creator and executive producer of Cartoon Network’s animated series, The Life and Times of Juniper Lee.
He is currently developing live action television and animation, writing the new bi-weekly comic title for DC Comics “Justice League: Generation Lost,” as well as the monthly “Power Girl.”
In 2005, Winick presented his Red Hood storyline in the Batman comics and it was met with tremendous sales alongside powerful waves of controversy. He has evolved that story into the script for the all-new DC Universe film, Batman: Under the Red Hood. In celebration of the film’s July 27 street date, DC Comics will distribute a six-issue mini-series, “Red Hood: The Lost Days.” Written by Winick and drawn by Pablo Raimondi, the mini-series offers greater insight into the back story of the title character.
From the producing triumvirate of Warner Premiere, DC Entertainment and Warner Bros. Animation, Batman: Under the Red Hood will be distributed by Warner Home Video as a Special Edition version on Blu-Ray™ and 2-disc DVD, as well as being available on single disc DVD, On Demand and for Download.
Winick is thrilled with the way his words have transitioned from comic/graphic novel to screenplay to animated film in the form of Batman: Under the Red Hood, and is only too happy to talk about the end result. Here are some of his thoughts …
QUESTION: What was the greatest challenge in taking your graphic novel to script format?
JUDD WINICK: I had to take two years of story and boil it down to 75 minutes of film, and that’s a challenge and liberating at the same time. It forces one to cut out all the fat and get to the heart of it. It’s about making a movie. And for those who know anything about movies, it’s about putting one foot in front of the other, building from one scene to the next to the next and so on. There are no cul-de-sacs or crossovers – it’s all about getting the story to its essence.
QUESTION: Were you disappointed with what you needed to cut out?
JUDD WINICK: Actually, I was thrilled about what went in. I’m really, really happy that the emotional core of the story is still there. We don’t really get to tell stories like this in animation. The opera of it all is usually reserved for live action. This story is about characters actually emoting and dealing with horrible situations. Animation usually gets just the action and the visualization, and not the characters actually feeling anything. So it was nice we got to do that.
QUESTION: Can you describe the gratification of watching your words come to animated life?
JUDD WINICK: It’s great. And I don’t mean to take anything away from writing for comics, as this is just a different form of story telling. One of the fun parts of writing for film is that it allows you the freedom for your characters to just shut up and fight. We can’t do that in comics – there always has to be some banter or internal monologue. More importantly, it’s gratifying to see the words and action come to life in all the ways film affords – through incredibly talented actors giving the words all that emotional impact; and to see the characters actually fight and run and yell and shout and cry. They become living, breathing beings. That’s a very exhilarating experience for a writer.
QUESTION: Do the voices of Bruce Greenwood, Jensen Ackles, Neil Patrick Harris and John DiMaggio match what you had in your head while writing the dialogue?
JUDD WINICK: I’ve been writing these characters for years, and it’s remarkable the job those actors did. Greenwood is about as Batman as you can get – which is exactly what you want. You don’t want to be surprised – as soon as he speaks, you want to say to yourself, “That’s Batman.” Nightwing is exactly as I’ve had him in my head – Neil Patrick Harris couldn’t possibly do it better. I’d like to do an entire feature with Bruce Greenwood as Batman and Neil Patrick Harris as Nightwing. Red Hood is funny for me because I thought I’d written this character in this incarnation more than anyone else, but I had no clue what he’d really sound like. And yet, when Jensen speaks, that’s the right tone and timbre. As far as Joker, that is one of the truly great characters that I think needs to be left up to interpretation. There’s only been a handful of people who have created Joker – Mark Hamill set the standard for animation, then you’ve got Jack (Nicholson) and Heath Ledger. But John (DiMaggio) has such versatility, he could go anywhere with it, and he made it totally his own. He really gives a very big and gruff and masculine performance, so deep and throaty and bass. He’s wonderfully scary and really gets the job done.
Wade Williams as Black Mask absolutely cracks me up. He’s like a lion. Honestly, what came out in the animation came directly out of his performance. Wade made him into a caged animal who might go off at any second. He’s constantly roaring, which is an entirely different take than I anticipated and that’s awesome. That’s an actor making decisions and making it his own and really hitting the mark.
QUESTION: Executive Producer Bruce Timm says your pitch was unorthodox in that it was over the phone and yet was absolutely perfect and completely sold him. How’d you pull that off?
JUDD WINICK: I’d given a rougher pitch to Gregory Noveck (DC Comics’s Senior Vice President of Creative Affairs) and he loved it, but we had to pitch it to the gang. The schedule worked out that I had to be in San Francisco, and they had to be in Burbank. That’s not the ideal way to pitch, especially for me – I like to jump around a lot, shout a lot, wave my hands and be theatrical. That’s especially true for this pitch because it’s a very emotional script. I kind of sold the idea in the first five minutes of the pitch, which was essentially describing the first five minutes of the movie.
I thought this would be a cool animated feature, but to really tell this story, we had to find a way to show Robin dying. We had to get the history in quickly to start the movie with that emotional smack. So I’m on my head set, going through this scene, talking about Batman barreling down the street of Sarajevo, the Joker beating Robin to death,. I’m banging my hands on the desk, yelling as loud as I can, and by the time I said “Fade to black, cue to opening credits,” it was just dead quiet on the other end of the line. I said, “Is everybody still there?” And they said, “Yeah, that was awesome.” Done. Sold.
QUESTION: How did you first enter the Batcave as a fan?
JUDD WINICK: Like many people of my age, I’m sure I was reading the comics but I remember watching the TV series more – and not really liking it. It didn’t quite feel right. I know I enjoyed it more like watching Super Friends, but I really gravitated toward the comics more than anything. The series wasn’t dark enough. It didn’t have the edge I wanted in my Batman. Ultimately, the TV show gave me a sense of what I didn’t want Batman to be, even back then.
QUESTION: For The Real World fans out there … do you have any inclination to do another reality show?
JUDD WINICK: I would say NEVER. Laughs. Doing reality was like elective surgery. I got the nose job, it worked out just fine. I don’t need a touch up, and I don’t need another one. When they started to do the follow-ups, we just kept saying “No” until they stopped asking us. We have jobs and responsibilities and really don’t need the money or the humiliation. And most importantly, we had a fairly extraordinary and terrible experience during the show and still came out positively. We are very lucky in that way, and I would not assume to tempt fate and do anything like it again.
QUESTION: Do you feel Batman: Under the Red Hood fits into Batman’s current live-action film tone?
JUDD WINICK: I’d say Christopher Nolan’s The Dark Knight was sort of the catalyst. After seeing that film, it got my juices going thinking that we could do something like that with a Red Hood arc. At the time, I didn’t even know what Warner Premiere was working on. It all started with a quick email to Gregory (Noveck) asking if they were looking for any more Batman features. Comics and film present very specific camps for the characters and the stories. Animation should be its own genre that straddles between the two that can give comic fans the product their hoping to see, and provide a new vision for the fans who only know these characters in the most mainstream way.
QUESTION: Do you like presenting your stories in animated form?
JUDD WINICK: I really do. I’m a cartoonist. I don’t draw for money, and mostly what I do is the writing. But that’s how I view myself more than anything else – as a cartoonist. I grew up on animation, and I always loved knowing that the cartoons on the page could actually come to life. I worshipped at the alter of Chuck Jones, and realized at a very young age that one guy did all the things I love best. I love it as a medium and I love how it’s evolved. Animation features have exploded – there is more high-end animation being produced now than ever before, and I think that’s great.
It’s been a while since I’ve written anything for Broken Frontier as I’ve been busy with Extra Sequential and its journey from on-line mag to print. Hopefully good news to report on that soon. Anyway, here’s my review of Solomon’s Thieves, a rousing OGN written by Jordan Mechner, Prince of Persia’s creator.
Also up at BF is one of the best interviews I’ve done in a while (not that I can take credit for that) as the writer of Radical’s new sci-fi series Earp: Saints for Sinners is one interesting fella. Read my chat with M. Zachary Sherman here.
Official interview below with the legendary Andrea Romano about the next DC animated film.
CASTING/DIALOGUE DIRECTOR ANDREA ROMANO FINDS THE PERFECT BLEND OF VOICE AND CHARACTER FOR “BATMAN: UNDER THE RED HOOD,” THE NEXT DC UNIVERSE ANIMATED ORIGINAL FILM COMING TO DVD JULY 27, 2010
Few individuals understand the intricacies of the voice of Batman better than Andrea Romano.
Arguably the top animation voiceover director in the business today, Romano has been instrumental in orchestrating the vocal tones behind the character’s non-live appearances for more than two decades. From Kevin Conroy and Rino Romano to Jeremy Sisto and William Baldwin, Romano knows precisely what voice will best fit the tones of a particular story or series.
Enter Batman: Under the Red Hood and all of its deep, emotional undertones. Romano has outdone herself once again, balancing the veteran acting chops of Bruce Greenwood as Batman with the youthful, pained intonations of Jensen Ackles as Red Hood, and tossing in Neil Patrick Harris as Nightwing for humorous resonance.
All in a days work for Romano, who recruits the best in the business – winners of Oscars, Emmys and Tonys alike – to provide the voices behind some of the world’s best known super heroes for the DC Universe Animated Original Movies.
Romano’s voiceover casting/direction resume spans more than a quarter century, covering the genre gamut from action (Batman: The Animated Series) to humor (Animaniacs) and contemporary (The Boondocks) to timeless (Smurfs). The eight-time Emmy Award winner (along with more than 30 nominations) is a star in her own right, earning the respect of her peers and the adoration of legions of animation fans. One need only witness the reaction to her introduction at a Con to understand that voiceover work is no longer an anonymous profession.
Batman: Under the Red Hood is the next entry in the popular ongoing series of DC Universe Animated Original PG-13 Movies from Warner Premiere, DC Entertainment and Warner Bros. Animation. The full-length film will be distributed by Warner Home Video on July 27, 2010 as a Special Edition version on Blu-Ray™ and 2-disc DVD, as well as being available on single disc DVD, On Demand and for Download.
Romano took a few minutes to offer her perspective on the voices of Batman: Under the Red Hood. Here’s what she had to say:
QUESTION: Let’s take the cast one member at a time. What made Bruce Greenwood right for the role of Batman in this particular film?
ANDREA ROMANO: One of the coolest finds of this past year for me was Bruce. I’ve seen so much of his work over the years, and he can do so many things so convincingly. I knew I’d have to offer him a big role. Something with meat. And I knew he would really sink his teeth into the material and make it his own. I don’t need to tell you what a wonderful actor he is – but for this film, he gives a terrific, sensitive performance. This is the most tortured we’ve ever seen of Batman and, without overplaying it, Bruce really showed us a lot of the guilt and issues Batman has in his luggage. It’s an exhaustive, emotional piece, and he carried it perfectly.
QUESTION: How did Jensen Ackles perform in his maiden voyage in animation?
ANDREA ROMANO: When you get a first-timer in the booth, there are often risks involved, particularly in understanding the techniques involved in working with the microphone. Jensen picked it up so quickly and was so effective in this very difficult role. Red Hood is written as such an embittered, angry, verging-on-insane character, and it can so easily be overplayed. But Jensen found just the right level of energy and flair. I loved his acting. His quality was dead-on, and he really offers a perfect balance with Bruce (Greenwood).
As a director, you live the emotions with the actor. There’s one scene where Jensen has to let his emotions completely bubble to the surface. I had to work really hard to see my script through the tears that I was crying with him as he let his emotions come through.
QUESTION: Who better than Neil Patrick Harris to break up all the emotional drama of this film?
ANDREA ROMANO: Who doesn’t love Neil Patrick Harris? He’s charming, talented, friendly, and remembers everyone he works with. He can sing and dance, not that I need that talent for Red Hood (she laughs). And in this instance, he did the unthinkable – he came to record for us on his way to the airport as he was going to New York to host the Tony Awards. Nightwing really does give a comic balance to this intense story, and Neil brought that spunky, funny instinct to the character with his usual effortless performance. He’s completely believable whether he’s doing drama or comedy, and he really added to this film. If I could, I would use Neil on every single project I do.
QUESTION: Jason Isaacs is such a nice guy. Why’d you have to make him play a villain again?
ANDREA ROMANO: Jason Isaacs is a delight. And you’re right (she laughs) – nice guys sometimes make the best villains. I’ve worked with Jason several times, and he’s absolutely fantastic. For Ra’s, I needed something slightly exotic. He’s a great, unusual character, but we had to fight against him getting too cartoony – and I knew Jason had the chops. He’s also a wonderfully intelligent actor – during the recording session, he had so many ideas, and would so respectfully suggest them to Bruce (Timm) and I – and I honestly don’t know that there was one we didn’t use. He helped edit the copy, he added beats where we didn’t even see them, and really nuanced the performance.
QUESTION: The Joker has had some very memorable live-action and animated performances from some notable performers. How did John DiMaggio fit into that legacy?
ANDREA ROMANO: If I weren’t in love with my husband, it would be John. He’s such a versatile, talented voiceover actor. The Joker is such an intense character, and I knew I needed somebody with great range – and John was delighted to come in and play, and he gave it some beautiful new twists. Because he has such a deep gravely voice, and he’s good at comedy, and he’s a good actor, I knew John already had covered most of the points of the Joker. But I didn’t want a light, thin reedy voice, I wanted a voice with some mass to it. That’s John.
QUESTION: You’ve placed Vincent and Alex Martella as the Young and Younger Robin voices. Had you ever cast brothers in the same film?
ANDREA ROMANO: This is the first time I’ve ever cast brothers in the same film. I was familiar with Vincent’s work and had been looking for something for him, and this was a great, interesting opportunity because I needed to cast the younger version of this character at two different ages. Vincent has a younger brother named Alex, who has only just begun in the industry, but because siblings tend to have very similar qualities to their voices, it was kind of a no-brainer to cast his younger brother as his younger self. And they were terrific – Vincent was pure dynamite in his performance, and I actually think Alex learned from watching his older brother record before him.
What really surprised me was in their attention to detail. They had to set up this character’s life for another actor that they weren’t even going to act in the same room with, and I thought the transitions were seamless.
QUESTION: What set this cast apart from the first seven DC Universe films?
ANDREA ROMANO: Each one of these actors had something to bring to the party above and beyond what was required of them. They had questions, they had input, they had ideas and, because the piece is so adult, complex, intense and dark, they knew they weren’t coming in to play The Smurfs. In order to make sure they were in the right head space and had the right tone, they asked a lot of questions. And that’s always a good sign. When the actors are that involved with their characters and the story, that challenges Bruce (Timm) and I to truly think through everything even more thoroughly, and then it becomes a much more collaborative effort. I’m not above telling an actor how to read a line. But I’d prefer that the actor comes up with the idea himself and I’m able to just tweak things here and there. We all need a challenge, something that keeps us on our toes, and recording this film was one of those experiences. A very, very positive experience.
Here’s an official interview with famed voice actor John DiMaggio about his new roles as The Joker in DC’s next animated film.
John DiMaggio Undertakes a Villainous Icon as The Joker in “Batman: Under the Red Hood”
Known to adults as “Bender” in Futurama and tweens as “Dr. Drakken” in Kim Possible, John DiMaggio takes an iconic step forward as the voice of The Joker, the pivotal villain in the all-new DC Universe animated original movie, Batman: Under the Red Hood.
In the film, Batman faces his ultimate challenge as the mysterious Red Hood takes Gotham City by firestorm. One part vigilante, one part criminal kingpin, Red Hood begins cleaning up Gotham with the efficiency of Batman, but without following the same ethical code. And when The Joker falls in the balance between the two forces of justice, hard truths are revealed and old wounds are reopened.
DiMaggio gets free reign to play the iconic villain amidst a stellar voice cast that includes Bruce Greenwood (Star Trek) as the Caped Crusader, Supernatural star Jensen Ackles as Red Hood, and Neil Patrick Harris (How I Met Your Mother) as Nightwing.
Best known for his near-100 episodes as “Bender,” DiMaggio has parlayed his deep, gravelly tones and versatile acting style into a major force on the voiceover scene for the past decade. DiMaggio’s credits include roles in Kim Possible, Samurai Jack, Teen Titans, Batman: The Brave and the Bold, The Spectacular Spider-Man, Duck Dodgers, Jackie Chan Adventures, The Penguins of Madagascar and Chowder.
Voiceover has so dominated his time that DiMaggio has virtually abandoned his on-camera career – despite past work as a regular cast member on Chicago Hope and a number of guest roles in TV series such as Becker, N.Y.P.D. Blue, Felicity, Bones, Without a Trace and My Name is Earl.
Batman: Under the Red Hood is the next entry in the popular ongoing series of DC Universe Animated Original PG-13 Movies from Warner Premiere, DC Entertainment and Warner Bros. Animation. The full-length film will be distributed by Warner Home Video on July 27, 2010 as a Special Edition version on Blu-Ray™ and 2-disc DVD, as well as being available on single disc DVD, On Demand and for Download. But before you race to Amazon to pre-order your copy, take a minute to get to know John DiMaggio.
QUESTION: What were your initial thoughts about assuming this iconic role?
JOHN DIMAGGIO: I was shocked when I got the role, shocked when I came in to record, and shocked when I saw the finished product during ADR. I just wanted to honor the real true lunacy of the character. I didn’t want to make him campy, but I wanted to pay a little bit of tribute to the past Jokers – and yet keep it original at the same time. That’s walking a fine line, if there ever was one.
It was a little intimidating because it is such an iconic role. It’s an honor to get this job — and especially to play the Joker in this version because it’s so dark and twisted. I felt like I got a really wonderful opportunity.
QUESTION: Can you remember your early connections with the Batman mythology, and how any of the previous Joker actors might have influenced your performance in this role?
JOHN DIMAGGIO: I think the thing that influenced me the most when I was young is the television show, which is really sad because there have been so many great comics and graphic novels and stories about the Dark Knight that I haven’t been able to delve into yet – and yet I know about them. I actually would’ve loved to see Cesar Romero take the role to its darkness. There was a bit of Cesar Romero in what I did, but it’s Cesar Romero if he was in A Clockwork Orange. I guess my naiveté in my approach kind of kept it clean. I wasn’t trying to do a Jack (Nicholson) or a Heath (Ledger). I respect all the folks that have come before me, and their take on the character. Mark Hamill is awesome, Heath Ledger was unbelievable, and Jack Nicholson – what can you say? But I wanted to do my own thing.
QUESTION: Was there any particular direction you wanted to take this Joker?
JOHN DIMAGGIO: I wanted to cover what I saw on the paper, and I wanted to ensure Andrea (Romano, casting/dialogue director) got exactly what she wanted. Usually if the script is good enough, you know where your emotions should be, where your character lies. It should all be in the dialogue, and it certainly was.
QUESTION: How do you interpret the Joker’s mindset?
JOHN DIMAGGIO: I think the Joker thinks of himself, quite literally, as a necessary evil. And when I say that, I mean he really feels there is a place for him, and that he somehow balances the chaos with the non-chaos. It’s a yin and yang thing. And it’s really not personal, it’s business. Although he can get personal and he enjoys it. That makes it that much more twisted.
QUESTION: You’ve certainly done more than your share of villains. Do you prefer to go to the dark side?
JOHN DIMAGGIO: I love playing the villains. I’ll play anything, I don’t care. As long as its not tons of walla or gasping, I’m good. I hate the inhale.
QUESTION: When you were a kid, did you ever imagine you’d be voicing cartoons for a living?
JOHN DIMAGGIO: I was a class clown – I basically started acting when I was a kid. I wanted to play drums, but I couldn’t afford a drum set. It was easier to be in a play, so it just kind of happened. I walked into voiceover in New York in 1994. I was doing stand-up (comedy) at the time, and was looking to get out of it and into acting. An actor buddy of mine, Zak Orth, said it was a way to make a good living between acting gigs. I moved to LA, because there’s more animation here, and the rest is history. So yeah, thanks Zak – give me a ring.
QUESTION: Your primary focus is voiceovers these days. Do you have any inclination to do more live-action acting or stand-up comedy?
JOHN DIMAGGIO: On-camera acting is fun, but I don’t miss it. Voiceovers are quicker, and you get to work with such amazing, talented people – it’s a blast to play in the studio with these actors and writers and directors. With (on-camera) acting, there so much more waiting around, and my patience has run thin. Plus it beats the hell out of slinging jokes six nights a week at a Chuckle Hut in East Bumbleblard.
The second issue of the new digital magazine The Frontiersman is out now at Broken Frontier. It’s a 31 pager with a preview of Devil #4 from Dark Horse, a look at Iron Man 2 and Vertigo’s The Unwritten, as well as interviews with Peter Tomasi and David Finch on DC’s Brightest Day event, and my little interview with two of the creators behind Ape Entertainment’s new Shrek series. Read The Frontiersman #2 for free here.
This really is exciting, and now I get to share it. I’ve been writing for comics site Broken Frontier for a while now, and the last few months have seen it brought to another level (thanks to my fellow BFers who are a lot more technically minded than me) and now we’ve just unleashed the FIRST free comics magazine for mobile devices. The press release is below, but fear not – if you’re like me and have yet to step into the iPad world, you can still grab the PDF from the Broken Frontier site.
On a related note, I recently interviewed writer extraordinaire Jonathan Hickman (The Nightly News, Fantastic Four, Shield) for the mag. It was my first ever phone interview and we talked for almost an hour. It was pretty awesome, I gotta say and he’s a very interesting guy. Well, my article stemming from that interview can now be read in the digital pages of the brand new, first issue of The Frontiersman. Oh yeah.
Broken Frontier Launches The Frontiersman, the First Mobile Comics Magazine Free magazine debuts on iPad, goes weekly on May 4
Premier comic book news site Broken Frontier (www.brokenfrontier.com) proudly unveils The Frontiersman, the world’s first digital comics magazine for mobile devices. The magazine makes its debut on iPad with The Frontiersman #1, with new issues to be released weekly on Tuesdays as of May 4, 2010.
“We’re thrilled to offer comic fans a new way to experience the richness and diversity of the comics industry,” Broken Frontier’s Editor in Chief Frederik Hautain says. The Frontiersman will act as a digital companion to the main Broken Frontier website, where readers will still find their daily dose of comics news, reviews, blogging, previews and columns.
“BF isn’t going anywhere, on the contrary,” Hautain clarifies. “What we’re doing, is presenting our more in-depth articles and interviews in a format that allows you to enjoy them at your leisure without getting lost amid the boatloads of content that the web throws at you every day.”
The Frontiersman magazine app is available for free via iTunes. While the magazine can be optimally enjoyed on iPad, it can also be downloaded free of charge in PDF on the Broken Frontier website. The Frontiersman is developed in association withNetlash, the web development partner of Broken Frontier.
The first issue features interviews with Mark Millar and John Romita, Jr. on Kick-Ass, Paul Gravett on Tove Jansson’s Moominexhibition, and Jonathan Hickman on S.H.I.E.L.D., its history and political relevance. The Frontiersman #1 also dives into the storied history of The Green Hornet and spotlights this week’s top comics.
The Frontiersman, Exploring the Comics Universe. Go mobile and download The Frontiersman #1 right now on iTunes (http://itunes.apple.com/us/app/frontiersman/id368550228?mt=8) or as a PDF at www.brokenfrontier.com.
Writer Nathan Edmondson (Olympus) and artist Brett Weldele (The Surrogates) have just launched a spectacular mini-series form Image called The Light. It’s a great new concept with suitably creepy and dramatic visuals. You can read my interview with the creative duo at Broken Frontier here.
Up now at the new and improved Broken Frontier is my interview with film director Steven LaMorte, all about his new 12 part web series focused on Superman. Check out the interview here.
Now at Broken Frontier (which is new and improved) you can find my interview with writer Cullen Bunn (what a great name!). His new series The Sixth Gun debuts on May 1 in the Free Comic Book Day issue from Oni Press. You can see a few preview pages from the intriguing Western/horror series right here.
I have an interview at Broken Frontier with writer Joe Harris about his career as a screenwriter of horror films, his stint at Marvel a few years ago and his new series, Ghost Projekt from Oni Press. Ghost Projekt debuted recently and is a great thrilling series. Steve Rolston’s art is equally creepy, and Dean Trippe’s colours just give a suitably eerie feel to the pages. Go and grab it now.
Creator of The Cemetarians from Slave Labor Graphics, and more recently the Ferrymen OGN from Transfuzion Publishing, Aleister Gilgrim and I had a virtual conversation about his new book and a bunch of other stuff. Check it out at Broken Frontier here.
I also have an interview with Art A. Ayris, the man behind Kingstone Media, at Sight Magazine. Ayris pastors a church and guides Kingstone in creating some fine quality comics.
comicbookjesus 