Just when you think you’ve seen it all…
Artist John Cebollero has a new sketchbook out called DEEP DRAG. IF you’re a fan of deeply caustic Will Elder/Richard Corben-inspired comics art, Cebollero is the man for you.
There’s a point in every comicon production process where things get real. The utter insanity of what you have undertaken becomes concrete. Booking your first exhibitor is a great high. Each subsequent booking continues that awesome feeling of things going well. That is until you get your first email or phone call from an attendee. Once that happens there is NO going back. The cat’s out of the bag so to speak. It’s at that point that you come to the realization that what you’ve been working so hard on for the last few months is now out there for public consumption. It was a very surreal moment for Martha, Phil and I for sure.
While any noteworthy comics events are taking place this weekend, the not notable—and perhaps the most notable in recent comics history—is taking place at the University of Chicago’s new $114 million Reva and David Logan Center for the Arts: the Comics: Philosophy and Practice symposium organized by Hilary Chute. The lineup?
As the UK’s big three-weekend rolling convention rolls on, Kapow! is the big multimedia/Big Two and Image/mancave convention, with movie premiere stuff, Joe Quesada, Dan DiDio, Eric Stephenson, Jonathan Ross, and even Warren Ellis and Peter Serafinowitz. The show is being held at the fairly intimate London Business Design Centre—total capacity is about 6500 people—and all tickets are already sold out, meaning there will be no walk-up tickets at all—so mastermind Mark Millar’s wish to give the UK a mini San Diego has come true.
A while ago, a few very select comics press outlets were invited to the NY and Burbank offices of DC Comics to look at the pages of the BEFORE WATCHMEN prequels. Of course, only the tip top of the comics media were allowed in: MTV Geek, IGN, CBR, , Comicvine, and 670 The Score Chicago Sports Radio. We call shenanigans! Anyway, caveats were entered, impressions gleaned. Writers were not allowed to actually discuss plot points but rather give overall thoughts and gestaltic reactions.