Comic Book Therapy » Ross

Chris Roberson To Write The Shadow Ongoing

Cody "The Thorverine" Ferrell — Sat, 19 Jan 2013 05:47:24 +0000

Chris Roberson will be sticking with the pulp heroes beyond the pages of Masks. The writer of the well-received Dynamite crossover event, which we’ve been raving about, will be writing The Shadow ongoing series starting in April. Roberson pointed out the April solicitations for the series:

THE SHADOW #13
Chris Roberson (w)
Giovanni Timpanol (a)
Alex Ross, Paolo Rivera, Tim Bradstreet, Francesco Francavilla (c)
4 regular covers will be shipped in equal ratios
FC • 32 pages • $3.99
A grisly string of random murders has left the authorities baffled, but The Shadow believes there is method to the killer’s madness. At each crime scene, eyewitnesses have spotted the spectral figure of a woman in white. Is “The Light” behind the murders, or a victim’s lost spirit? The Shadow must unravel the mystery before the killer strikes again!

When asked on Twitter if this would be longer than the upcoming “Light” arc, Roberson said he didn’t plan on going away anytime soon. This is great news for Shadow fans. Roberson has handled the cast of Masks well, but his Shadow writing stands out. The writer mentioned he particularly enjoyed writing the character in our interview last month (click here for that). It will be interesting to see what Roberson brings to his first arc. He has written a lot of great stories and comics, but I’ve been particularly impressed with Masks. Having Chris Roberson continue on with the pulp characters will be something you can’t miss. What do you think about the news? Will you be tuning in for The Shadow vs. The Light?

Cody "The Thorverine" Ferrell, Chris Roberson To Write The Shadow Ongoing

Indie Spotlight: Yumi Sakugawa

Muy Mareado! — Fri, 18 Jan 2013 15:00:11 +0000

Welcome to Indie Spotlight! The independent scene is filled with many writers and artists alike and we here at Comic Book Therapy wanted to explore and reach reach out to these talented people to have the opportunity to learn about their works. For our first edition we present to you Yumi Sakugawa!

I am Yumi Sakugawa and I am a comic book artist and illustrator based in the Southern California. I am a regular comic / illustrator online contributor to Sadie Magazine and Wonderhowto.

Most recently, my comic zine “Mundane Fortunes for the Next Ten Billion Years and Other Stories” was selected as Notable Comics of 2012 by the Best American Comics anthology editors.

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Comic Book Therapy – Thank you very much for taking the time out to do this interview. How have you been doing?

Yumi Sakugawa – It is my pleasure! I’m finally fully recovered from a week-long cold so right now I am feeling pretty amazing.

CBT – You’re a self published comic book artist. How did you start?

Yumi – After I graduated from UCLA, I spent a year teaching English in Japan… because that’s what you do when you have just graduated from college with an art major and you have no idea what you’re going to do with yourself. During that time, a fellow English-teaching American artist friend and I spontaneously decided to sign up for a small booth at the bi-annual Tokyo Design Festa, a giant arts and craft convention that happens in Tokyo every May and November. I didn’t have any art on hand and I definitely did not want to show up as a first-time exhibitor empty-handed–so I furiously whipped up my first self-published 30-page comic zine “Milk and Moo” just in time for the event. Note to new artists, there is nothing like a convention deadline to really force yourself to kick your own butt to get something done.

This was back in 2008, and I had no idea that a zine culture even existed. When I moved back to Los Angeles, I made serendipitous connections with fellow artists in 2010 who introduced me to the zine scene and really got me hooked to showing comic zines at zine conventions.

CBT – What projects have you completed? Currently working on?

Yumi – I’ve self-published about eight comic zines in the last four years, ranging from illustrated guides on meditation to short comic story collections. My most recent self-published comic zine was a 50-page autobiographical diary comic of my travels in Paris and Rome.

Things I’m currently working on? I’ll definitely be releasing more self-published comics about meditation and mindfulness (people seem to really like those), and more short comic story collections. And since the world always needs more self-love and creative inspiration, I’m thinking of releasing a comic zine that deals specifically with self-love and staying inspired as an artist.

I’m also working on a longer fictional comic project right now, longer than anything I have ever made. It’s kind of a secret so either a lot of people will get to read it once it’s done or I won’t finish it and no one will ever know about it. Hopefully it will be the former and not the latter.

CBT – How long have you been in the art world? What inspired you to pick up the pencil/pen and create?

Yumi – I honestly don’t know what counts as being in the art world! I was in my first group art show in 2008 that wasn’t an art school student campus gallery show, so maybe since then? As for what inspired me to pick up the pencil / pen and create, I’ve always been drawing and doodling since I was a small kid, and drawing is the perfect medium to express yourself when you’re a really painfully shy kid and you’re trrified of talking to people.

CBT – As an artist, conventions and other means of showcasing are pretty important to promote your work. Have you attended conventions?

Yumi – Yes! I’ve attended maybe 6 different comic and zine conventions in the last few years and I really love the convention scene. For 2013, I’m really excited that I will be tabling away from the West Coast for the first time ever–at the Brooklyn Zine Fest in April and at the Toronto Comics and Arts Festival in May. Come visit my table if you think you’ll be going to either of those events!

I always make the coolest new friends and discover amazing new artists at every convention event. Seriously, I feel like there is a significantly lower percentage of douchey, pretentious creative types in the zine scene compared to other creative scenes or maybe I have just been really lucky with the people I’ve met. That, and I love having the opportunity to share my work with new people and connect in real-time with people who have seen my work previously on the internet or elsewhere.

If you are just starting out as a comic book artist, then I really recommend signing up for a table or a booth at a comic convention. Even if you don’t sell that many comics in the beginning, you get so much from the whole experience.

CBT – What is your best Convention memory?

Yumi – I think my best convention memory is the first comic and zine convention I’ve ever attended in 2010. I was crammed in one car with three other zine friends and left at 3 in the morning from Los Angeles to arrive just in time in Sacramento at around 10 A.M. to table at Indy Euphoria. I was only there for one day and I hitched a ride back to Los Angeles with another friend that same night. That convention memory is particularly special to me because that was the first time I had the chance to meet Dylan Williams, the late founder of Sparkplug Comic Books. It was at the convention when he actually bought copies of my first comic zine from me to distribute through Sparkplug and as a total newbie, I was so blown away by the possibility that complete strangers would really take a genuine interest in reading my comics. I feel so fortunate to have met him at that time and one more time before his unfortunate passing in 2011.

CBT – Things can be a bit difficult getting into the comic business. What encourages you to continue?

Yumi – I honestly don’t think much about the difficulty of getting into the comic business. Not because I naively think it won’t be difficult for me or anything like that, more so because I’m much more preoccupied on a narcissistic, mundane level with the daily difficulty of motivating myself every single day to find the time and the inspiration to move forward with my comic projects, regardless of busyness or creative blocks.

What keeps me going? Fan mail from an eleven-year-old girl. Complete strangers from countries I’ve never visited ordering my zines online. Seeing my self-published comics on display in my favorite independent bookstores. Kind messages from strangers. The painstakingly slow progress I make as an artist with every new project I finish. Being held accountable to my inner eleven-year-old who always dreamed of becoming a cartoonist.

CBT – Have you done work for other publishers?

Yumi – I’m actually working on something with another comic publisher. I can’t disclose too much information for the moment and more details will be revealed later in 2013. Stay tuned!

CBT – What do you enjoy most about doing comics?

Yumi – I think comics is the best creative medium for me to fully and honestly express myself as an artist and as a human being. Growing up, I was always torn between wanting to become a writer and wanting to become an artist; thankfully with comics, you can do both things at the same time.

CBT – With the year of rebirths and reboots, do you feel it contributes well to the comic business or takes the interest away from longtime readers?

Yumi – I’m the worst person to ask this question. I haven’t actually read any rebirth or reboot comic storylines.

CBT – Who is your favorite comic book artist? Favorite title or series that features his/her art?

Yumi – What a difficult question! I have many favorite comic book artists that changes with what I am interested in at the moment, but I always find myself revisiting again and again “Skim” illustrated by Jillian Tamaki and written by Mariko Tamaki. Coming-of-age stories with interesting female teenage protagonists are my personal catnip.

CBT – What comic book character would you find easy to relate to?

Yumi – This is a Japanese manga character, but I can relate too well with Maruko from the shoujo manga series “Chibi Maruko-Chan.” She’s lazy and disorganized, and prone to retreating to her own imaginary world a lot, just like me. (I can’t relate, however, to her immense dislike of nattou)

As for an American comic book character, this may be an extreme cliche answer but I think Charlie Brown and I would have had a lot of great coffee hang-outs. I was a pretty melancholy kid prone to over-nostalgizing my own childhood experiences in my head as they were happening in real time.

CBT – What would you consider your greatest piece to date?

Yumi – I don’t know if this would be my greatest, but I will always have a huge fondness for my first self-published comic story “Milk and Moo.” There is a wonderful magic that comes out of having no idea what you’re doing but somehow getting it done anyway.

CBT – For those who want to have a start in illustration, what advice would you share with them?

Yumi – Give the world as many opportunities as possible to see your artwork. Have a regularly updated art blog. Show your work at shows. Exhibit at conventions. Meet other artists. Make friends with artists whose skills and work ethic intimidate the shit out of you. Being an artist can be a lonely business, so find a community of artists you can join or make your own community. Find excuses to get your illustration out there, whether it’s volunteering to illustrate for a someone’s music event flyer or challenging yourself to publishing a weekly web comic with a friend.

In the beginning, all of this may seem like shooting darts in the dark. It is all worth it for the momentum that you create for yourself that will carry you over to your next great opportunity.

CBT – Thank you very much! Is there anything you’d like for us to be on the lookout for?

Yumi – Since so many people have asked about this, I will be releasing a limited artist booklet print of my emo-comic “I Think I Am In Friend-Love with You” sometime this month (January). If you are looking for the perfect not-so-subtle gift to give to your friend-crush for Valentine’s Day, this is it.

>Click Images for Bigger Versions<

Check out the sites below to see more of Yumi’s work and updates on her projects!

Bigcartel: yumisakugawa

Facebook: www.facebook.com/yumiverse

Flickr: yumisakugawa

Twitter: @yumisakugawa

Tumblr sketch blog: acrosstheyumiverse

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Hey writers and artists!! As the continuing interest in independent works grows, we want to reach out to the indie community and highlight those who dedicate their time and effort to a passion for their work. Tell us YOUR story! If you know someone that you would like to be featured in this section let us know!

To be featured in Indie Spotlight, please complete the following steps:

Contact us at: dezdewberry@comicbooktherapy.com (Please put “Indie Spotlight” in the subject line)
Provide a short bio and 5-10 pictures if you’re an artist
Sit down, relax and get ready to be contacted back!

Muy Mareado!, Indie Spotlight: Yumi Sakugawa

Review: Savage Wolverine #1

MrComicBook — Thu, 17 Jan 2013 15:19:28 +0000

The writer/artist book seems to have become popular again with the big two publishers. Marvel has enlisted Frank Cho to create a Wolverine book…..which puts Wolverine on the sidelines for most of the issue.

If you read Frank Cho’s Dynamite book Jungle Girl, you already have an idea of what to expect here. It takes place in the Savage Land, and all hell breaks lose rather fast. Cho hasn’t hidden his love of Shanna the She-Devil, and it shows in his writing. She gets some good dialogue compared to the other characters in this book. Granted, most of her dialogue is explaining the trip that the reader just saw themselves. Savage Wolverine #1 isn’t written well, but it shows a lot of potential. It could be a fun and outlandish book. Cho misses a great opportunity for humor, instead going for straight seriousness. The recent Avenging Spider-Man arc in the Savage Land used the absurdity of the land rather well. Wolverine can’t stay in the Savage Land forever, so Shanna will have to make a trip to the Jean Grey School sooner or later, which is a situation ripe with humor.

Wolverine doesn’t fare well in this issue. It’s clear from the start that Cho wanted this book to be a Shanna ongoing, but Marvel thought it wouldn’t sell. So Cho threw Wolverine into it so that it would sell. He barely speaks, and narrates every little thing he does. The reader doesn’t need to be told he just killed someone when we saw the head flying across the panel. The narrations go away once Wolverine bumps into Shanna, which betters the issue. If the next few issues have the same problems, maybe Marvel should bring a cowriter aboard for a while. Help Cho get his ideas out more effectively. If I had any control over the books Marvel published, they would have turned this into a Shanna book instead. Wolverine has enough books, and Marvel has been succeeding recently with B and C lister books. If the book is good, it will sell. Also, this would be a MAX book. Cho could pencil the nudity that he terribly wants to pencil.

At this point in Frank Cho’s career, everyone knows what to expect from his books. Lots of dinosaurs, cavemen, and scantly clad women. Every other shot of Shanna has her standing in a provocative position with her boobs almost hanging out. With the story being serious in nature, the amount of boobs sticks out that much more (no pun intended). If Savage Wolverine had been more lighthearted and over the top, the boobs would have felt natural (I seriously didn’t mean that pun either). Savage Wolverine is one great looking comic though. Every character is very expressive and detailed, and the lush jungles are beautiful. The contrast of wide screen panels and small panels is used well to convey the fighting. Cho’s amazing art is going to be the big draw on this book for some time.

Savage Wolverine is going to be a bubble book for some time. If the writing can improve, and the tone can shift a little bit, we have ourselves a great book. But if not, we have a dud.

Savage Wolverine #1 gets 3/5.

MrComicBook, Review: Savage Wolverine #1

Top 8 Vehicles of Television

Josh "ecksmanfan" Johnson — Thu, 17 Jan 2013 06:07:26 +0000

There have been many teams and duos throughout television history and many of the significant ones have had a top notch vehicle to get them where they need to be and at times, act as a safe haven for their owners. Some, however, were just there to make them look good and that’s it. Often times, these vehicles are more recognizable than the people that drove them, especially if you’re David Hasselhoff outside of Germany (why do they love him so much?!). So, I thought it time we give these stand-out vehicles a nod and place them on the pedestal they deserve to be on.

Now, I understand this isn’t the most geeky thing to be highlighting, but when I’m not slaving away for the militant owner of this site, I’m slobbering and drooling over vehicles that I wish to someday own. Not to mention, some of these vehicles have graced the pages of our beloved comics in the past. As with many of the lists you’ll see me post, these are in no particular order. How do you put a level of awesomeness on these things, really?

A-Team G15 Van
1983 GMC Vandura
Van/Minibus
5.2 Liter V-8
When you think of a group of bad-asses, the A-Team should be at the top of your list. If it isn’t, please leave your man-card on the table as you escort yourself out of the building. This team, which consisted of H.M. Murdock, B.A. Baracas, Hannibal Smith and Templeton “Faceman” Peck, used this van for many things, anything from an every day vehicle to a battering ram to a full-on assault vehicle. But no matter what, this beast made it through everything. The van was revived for Joe Carnahan’s film adaptation and fans couldn’t help but giggle a little bit when the van made its appearance.

Supernatural “Baby”
1967 Chevy Impala
Sedan
V8 427 4 Barrel
While my opinion of Supernatural has changed over the years, one thing that remains the same is my love for this classic American car. This vehicle makes me happy in ways an inanimate object should. The sound of the metal doors creaking as they open and close, the rumble of the exhaust and the simplistic back paint, what’s not to love? At the end of season five, Chuck sums things up nicely by calling the Impala “the most important object in the universe.” The classic rock soundtrack that is always present on the show never hurts either. This is a classic car for a pair of brothers that do what “Murica” does best: kick ass!

Starsky & Hutch Torino
1975-1976 Ford Gran Torino
Coupe
351 Windsor V-8 4 Barrel
The paint job is just as iconic as the car itself. When one sees this classic look on a car, only one show (or movie for the younger crowd) comes to mind: Starsky & Hutch. While the car may not have been the biggest and baddest muscle car ever made, you wouldn’t know by looking back at the series. Originally, a Chevy Camaro was to be the car of choice, as show creator William Blinn fondly remembered his convertible he owned. But being that the leasing program was through Ford, they opted for a Ford Gran Torino, which featured the famed 351 Windsor V8 engine and the now iconic red and white paint theme. The rest, as they say, is history. Talk about a good move!

Classic Batmobile
1955 Lincoln Futura Concept
Modified
351 V8
You didn’t think I’d make a list like this and not include this car, right? Despite it being over 50 years old, this car is still considered to be among the top Batman vehicles ever, movies, TV or comics; not to mention of any famous vehicles…ever. Hence its inclusion here. The car cost a whopping $125,000, which doesn’t sound like much for a fully custom vehicle, but if you factor in inflation, you’d be looking at a vehicle with a value of about $2 million today. Everything about this car is custom made, including the “bing bong” warning bell and the sender/receiver computer in the trunk.

Dukes of Hazzard General Lee
1969 Dodge Charger
Coupe
318, 383, & 440 CID V8 big block (Varied depending on use)
When I was a kid, nothing impressed me more than seeing Bo and Luke Duke racing to the General Lee, sliding across the hood and climbing through the window to head off on a back-country, high speed chase. I wanted to be a Duke more than anything. To this day, whenever I see an old Charger, I can’t help but smile. Fun fact: anywhere from 250 to 300 Dodge Chargers were used- and wrecked- during the taping of The Dukes of Hazzard. They often times would recycle parts to fix some of the cars up to reuse them. Even more cop cars were damaged during film. Sadly, whenever this car makes appearances now, the Confederate flag that is featured on the roof will no longer be used.

Green Hornet Black Beauty
1966 Chrysler Crown Imperial
Sedan
440-C.I. V8
You want to talk assault vehicle? The Chrysler Imperial that was used for Black Beauty not only had a drastically modified exterior, but the gizmos and weapons that were included make the Batmobile look like a Barbie Power Wheel. The car was able to launch rockets via tubes below the headlights, a concealed-when-not-in-use, drop-down knock-out gas nozzle in the center of the front grill, and the capabilities to launch a video surveillance device- or scanner- from a hidden compartment. Just to name a few things. The car featured a one-of-a-kind paint job that included 30 layers of black paint. For the 2011 remake, the car kept to the same concept, but upped the ante and was easily the highlight of the film.

Knight Rider KITT
1982 Pontiac Trans Am
Coupe
5.0L V8
Before David Hasselhoff was running around in little red shorts, he was behind the wheel of this super smart, ultra computerized Trans Am. KITT, which stands for Knight Industries Two Thousand), has literally dozens of high-tech upgrades: turbo boost, Etymotic Equalizer (he could hear), Olfactory Sensor (he could smell), Silent Mode, Oil Jets/Smoke Screen, Flame Thrower and Ultramagnesium Charges. That list could go on for some time, but I’ll hold off on the awesomeness. Take all that and drop it into one of the most iconic cars of the 80′s (it’s still quite popular among folks with a mullet and have a hankerin’ for pork rinds) and you have yourself a pretty bad-ass whip.

Magnum, PI Ferrari
1977 Ferrari 308 GTS
Targa Coupe
2.9 L FI V8
When you mention the classic series Magnum, PI, most people will remember Tom Selleck’s luscious push-broom mustache or his ridiculously short shorts. But not me. What I remember most is that bright red, targa-topped Ferrari 308, a car that some enthusiasts to be among the most beautiful cars that the Italian automaker has ever produced. I couldn’t agree more. This care was able to bring down the fastest of getaway cars and looked damn good doing it. This thing is about 14 levels of pure awesomeness.

I have to list a few honorable mentions, as they are just too cool to leave off, so I have to at least give them a bit of love:
19986 Ferrari Testarossas from Miami Vice
1976 Austin Mini from Mr. Bean
1980 GMC Pick-up from The Fall Guy
Th Munster Koach from The Munsters
The Mystery Machine from Scooby Doo

What are your favorite cars from television? I know there are some that I missed, but the important ones are here and I’d be more than happy to take anyone of these home. Now if I only had someone to buy them for me…

Josh "ecksmanfan" Johnson, Top 8 Vehicles of Television

Review: Green Hornet: Year One Special

Cody "The Thorverine" Ferrell — Wed, 16 Jan 2013 21:17:30 +0000

Ruby’s thirteen. She sells newspapers for pennies. And she’s got The Green Hornet’s gun. Will Hornet and Kato find Ruby before the mob does…or can THE GREEN GUN GIRL save herself? The original Green Hornet in a super special tale from writer Nate Cosby (Cow Boy)!

The Green Hornet Year One Special is written by Nate Crosby and illustrated by Edu Menna. Marcelo Pinto handles colors while Marshall Dillon provides letters. This special features a story within a story, and the old style comic sequences are done by Evan Shaner. So is the Green Hornet Special really special or are you left feeling stung?

The story is a Green Hornet tale told through the perspective of a young girl named Ruby. Ruby is a thirteen year old who hocks newspapers on the street corners. The news isn’t great, but everyone wants to read what The Green Hornet is up to. The masked menace captivates the young and old alike with his exploits plastered on the front page of the Daily Sentinel. Ruby’s mind tends to wander as she imagines herself as a young sidekick of sorts to Hornet and Kato. While selling papers or sneaking into the home of her alcoholic father, Ruby fantasizes about a particular episode where only she can save the Hornet from the circus thug. When Ruby’s fantasy world comes into existence as Hornet and Kato try to stop thugs on her street, can Ruby be as cool and collected as she is in her dreams?

Crosby crafts a great and touching story. Having a young dreamer cross paths with their hero isn’t a new story, but the way Crosby weaves the imagined with the real keeps it fresh and interesting. There’s enough character development with Ruby and her world to keep the reader entertained while they wait for the inevitable appearance of The Green Hornet. Menna does an apt job with the comic. At times the art looks and feels a little rough, but the street level scenes come off really well. The old comic strip style of Ruby’s fantasies are handled brilliantly by Shaner. It looks like it was lifted straight form an old comic serial. The way the page and words fade into the old style strip is fantastic.

Bottom Line: The Green Hornet Year One Special is truly that, special. With a touching story by Crosby and astounding old comic serial images, this book is one for Green Hornet fans new and old. With a different take on the dreamer meeting the hero angle, the script and art make something really fresh. Check this one out 4/5

Cody "The Thorverine" Ferrell, Review: Green Hornet: Year One Special

America's Got Powers #1 Review

MrComicBook — Thu, 12 Apr 2012 02:20:04 +0000

Months ago, Bryan Hitch announced he would be leaving Marvel to work on this book. Hitch is one of the few artist that, when he says he is going to work on a book, the entire industry listens. America‘s Got Powers #1 is a great start to the new series that delivers in both art, and writing.

I’m not familiar with Jonathan Ross and his writing, but I want to be. While America’s Got Powers #1 doesn’t revolutionize comics, it’s still fun to read. Ross throws a lot of things at the reader, but never do they feel overwhelmed. Ross frames the story in a way that slowly peels the layers back on the history while also subtly throwing hints at the way the world works. The reader’s point of view is used through Tommy, the only person who hasn’t received powers in the group of people who have. While it’s clear that things won’t be the same for Tommy by the way Ross introduces him to us, it’s still great to see what happens at the end of the issue. The rest of the characters are given enough time to have the reader figure out who they are. While only superficial, it’s nice that Ross quickly establishes these characters to a point where, as a reader, I’m interested to see what happens next.

A lot of time is spent on explaining the rules of this world and why we should be invested in it. With media so focused on reality celebrities these days, it’s fun to see the creators of these shows be absolute dicks. It’s good to see, considering there are many fans who thing these reality stars are gods. America’s Got Powers has a couple of similarities to the recent blockbuster ‘Hunger Games,’ but those are only on the surface. It’s very different, and set up much better too. As stated before, it doesn’t reinvent the wheel in comic universes, but it’s a lot of un. And in a time when most comics are dead serious, it’s nice to have a fun and simple comic.

Byan Hitch has had a rough couple of years. His work hasn’t been it’s best, but still good. America’s Got Powers seems to be a return to form. The big widescreen panels looks amazing, filled with an astonishing amount of detail. Even when reading this issue on an iPhone, they still have the impact that they are shooting for. The big action scenes are filled and convey the chaos of fights like these. They are very busy, but it gives the reader plenty of reason to get lost in the pages. Given that Hitch had more time to pencil these issues, every character has a great amount of detail, even when there are numerous characters in the scenes. One thing that this reviewer noticed in past issues of his was some characters tended to blend in together. That doesn’t happen here, as every character has different facial structures and features. It’s great to be able to see Tommy amongst a huge crowd and know who he is. Some of the spandex clad people have similar costumes, but it’s a small gripe that doesn’t affect the read whatsoever.

America’s Got Powers #1 is a great start to a miniseries. It’s interesting, engaging, and it’s going to be a fun six months reading this book. If Bryan Hitch stays on this level for every issue, this is going to be his defining work as a penciler.

America’s Got Powers #1 gets 4.5/5.

MrComicBook, America's Got Powers #1 Review