Thursday, September 15, 2016

Joyce Chin: She's got it covered




Joyce Chin has been working in comics since 1995 when she pencilled several issues of Guy Gardener: Warrior for DC.

Since then, she's has gone on to work on several titles, interiors and some covers, on titles including Hulk, Green Lantern, Vampirella, Xena, Spider-Man, Superman, and Witchblade, with a variety of publishers.
She provided the art on a number of covers for Dynamite including Red Sonja, Alice Cooper vs. Chaos, Vampirella, and Lady Rawhide/Lady Zorro. Now her work’s been exclusively commissioned by Marvel.


Wynona Earp, #1-5, (Dec. 1996-April 1997) needs to join that list: Joyce Chin penciled #1-3, then the covers of all five issues. (#4 has early work from Pat Lee, who I first noticed drawing Transformers for IDW.) Considering Wynona Earp’s coming back for a second season on SyFy, it’s worth tying these together, nearly two decades apart!

Her six covers for Alice Cooper Vs. Chaos are among her most recent published work, but she’s been at it since the days of Guy Gardner, Warrior (which she drew for five issues, #31-35, then returned in #42 for a story called, “A Gender Bender in the Blender,” which makes me curious enough to eventually make sure I read it.


She drew Superman: Silver Banshee in 1998, and wow, Spider-Man and Elektra, in the Peter Parker annual of that year! She later penciled special for Chastity, Tomb Raider, and a big team-up with Witchblade, Magdalena, and Vampirella written by Gail Simone. She was also part of the Hero Initiative’s Fantastic Four: 100 Project.

My favorite cover yet, though, is her latest, All-New Wolverine #9!

Then, Joyce Chin herself provided me with unreleased art.









Saturday, September 3, 2016

Interview, J. M. De Matteis- Scooby Doo Apocalypse, Augusta Wind and more!

http://www.outrightgeekery.com/2016/09/01/creative-mysteries-j-m-de-matteis/

More pictures and content on my post to Outright Geekery.com:



Thursday, July 21, 2016

Black Magick: Coming To TV! Greg Rucka, Nicola Scott, and Groundswell

Greg Rucka and Nicola Scott's creator-owned Black Magick comic series will go into TV development, as reported by Deadline.com. The same company behind "The Magicians" on SyFy, Groundswell Productions, made the deal, which sounds so far like a creator-owned property dream come true! They're producing a new show starring Hugh Laurie, Chance , for Hulu.
I've enjoyed Nicola's artwork for years now- when we couldn't afford many comics, which was Our Entire Time in Cali, Secret Six was a must-read. She's busy with alternating issues of Wonder Woman '75 now. Did you know the Australian artist was an actor before she became a pro at the drafting board? That's one more thing to ask her when I interview her after Comic Con. I think? I hope! I think she's agreed to it. I wasn't kidding. Throw me good juju!
Black Magick's the story of Rowan, who has inherited witch abilities she's put aside to concentrate on homicide/burglary cases as a police detective. Wouldn't you know, the proverbial past catches up with her, and soon the life she leads and the life she left aside come into direct conflict, necessitating Rowan integrate both sides to save her loved ones- and possibly, the entire world.
(All art, Nicola Scott) Rucka's famous for a lot of comic book writing, but I particularly enjoyed his novelization of Batman: No Man's Land. The comics are on my hit list- watch them become scarce as this TV show nears its debut! Meanwhile- jump aboard for a new twist on The Olde Ways!

Saturday, June 11, 2016

Jan Duursema's Hexer Dusk interview with me!

Here's the Hexer Dusk interview as it was published. I'm trying to get the link to show, sorry! Try outrightgeekery.com! From my interview, Jan had this to share on moving from Star Wars to her own publishing venture:
JD: Somewhere inside most comic book pros is the idea of a doing something indie and creator owned. I'd approached doing something partly creator owned with other companies, but each time the course of the company changed direction and the project fell through. That's why I think that Kickstater and Indiegogo are so important to the pros in the comic book industry. They give creators a platform to put those indie projects out there for the fans and readers to decide on. What I like most about what I am seeing on Kickstarter is that most of the comics looking for funding are outside of the mainstream--you'll see Western, Horror, Sci-fi, Fantasy, Comedy or a mashup of different genres. It's a creative candy store! I think that the ability to be able to create something different was the thing that appealed most to me about doing something indie. 
For a long time, John and I were able to call the Star Wars comic universe at Dark Horse our home. When Disney took the franchise to Marvel, they brought their own teams onto the books. Totally understand that--and we got to play in the GFFA for far longer than most creators ever do--so I'm happy with my time there and with what we accomplished. When I think about all of the characters we created for Star Wars Legacy, Republic and Dawn of the Jedi that fans still love, it's a very gratifying thing! Seeing someone at a convention dressed as Darth Talon, Cade Skywalker, Darth Krayt, Darth Nihl, Darth Maladi, Deliah Blue, Bantha Rawk, Nyna Calixte/Morrigan Corde,  Quinlan Vos, Aayla Secura--nothing beats that! I am awed by the time and attention that the costumers give to their creations. It's a love of what you've created that comes back to you. It's confirmation of a job well done!
At the same time, the franchise changing hands was a bit of a wake up call. John and I spent over 10 years creating for Star Wars, but when it was over--there was, of course,  no ownership of any of the characters--no way to take them on further adventures. When something like that happens you can feel a bit lost creatively  My take-away from that is that you have to re-make yourself as an artist, writer--and creator. You have to find a new home where you can create new characters whose stories you are burning to tell. I'd initially gotten the idea for Hexer Dusk back in 2013, sketched it out a bit--and John and I talked about it, added to the characters and story--plotting out the first graphic novel--both agreeing that this would be great for that indie project we'd always promised ourselves we would do 'someday'/ Would we talk to some companies about it? What about ownership? What's the best way to bring this book to fans and readers to READ? That's the most important thing about creating comics--getting the book out there so people can read it. Otherwise what good is telling a story? John and I both did lots of thinking about what we wanted to do. Other projects came along for both of us, but Hexer Dusk was always on my mind. 
Fast forward to the New Year 2016. Creating Hexer Dusk is still at the front of my mind. I'm tired of looking wistfully into the drawer of art I've produced for this book and closing that drawer and waiting. I've got so many sketches, characters and storylines and 13 pages of storytelling nearly done. The plot is written and waiting for me. It's time to make Hexer Dusk happen. So Kickstarter--which is doing well thanks to all of the amazing backers who have shown their support so far! We're funded for the basics like printing, postage, Kickstarter fees, manufacturing, the art rewards and perks. But I'd love to bring Hexer Dusk to a lot more readers. I know that fans of John's and my Star Wars comics will enjoy this story and these characters very much. I also think that fans of our Hawkman series will dig the art and story of Hexer Dusk. Right now, we're working on Stretch Goals--and as these levels are achieved backers of the project get even more rewards added to the reward they pledged--like a Black and White unwrapped version of Hexer Dusk as well as more story pages added to the graphic novel.

Wednesday, June 1, 2016

There's just one DAK: David Anthony Kraft creates comics Pt. 1 (1970s Marvel)

The story goes, a motorcycling youth fresh from a stint traveling with the carnival came to New York City, all of 20, 21, hoping to join Marvel Comics Group. David Anthony Kraft arrived with counter-cultural rebellion and a head full of imagination.
His high school years spent reading science fiction paper backs in the back of the classroom led straight to a professional status: he took the initiative and inquired about becoming estate executor to pulp writer Otis Adelbert Kline! (I discovered Kline's initials presented as OAK and wondered if that wasn't the inspiration for the "DAK" nomenclature.) Science fiction writer Leigh Brackett (who famously drafted The Empire Strikes Back script) and Marvel's Stan Lee were also formative influences. Fictioneer also published hard back editions of Jack London, Frank Baum, the autobiography of A.E. van Vogt, Robert E. Howard, and E. Hoffmann Price, a colorful ex-soldier and pulp writer who became an early mentor.
The every-ready editor got in touch to share:
Fictioneer Books didn't become a publisher -- it began as one. Before going to Marvel, I published Robert E Howard and Jack London and L Frank Baum hardcovers, plus editing and publishing sf writer A E Van Vogt's autobiography in trade pbk, along with an Otis Adelbert Kline original trade. Then, I got busy with comics, and when I got back into publishing, it made sense to publish what I knew, hence: Comics Interview mag and the various original comics series, also under the Fictioneer imprint.

If you were a Friend of Old Marvel in the 1970’s, DAK was editor for FOOM, Marvel's 70's fanzine, a precursor to his 80’s career with Fictioneer’s David Anthony Kraft’s Comics Interview, and began picking up writing assignments, such as GIANT SIZED DRACULA #4 , SPIDEY SUPER-STORIES, and CREATURES ON THE LOOSE #33-37, the strip where his writing career for Marvel Comics Group began.
His earliest writing for Marvel was Man Wolf, in Creatures On The Loose. One must marvel at writing the son of a character so important as J. Jonah Jameson, much less to work side-by-side at times with JJJ and Spidey co-creator Stan “The Man” Lee himself! Only recently did a photo, courtesy a post by Sean Howe, reveal his first scripting job at Marvel ended up in the hands of Marc “T-Rex” Bolan himself.
After some time at Marvel, he decided to try writing stories for the new company around the block: Atlas Comics, created by Martin Goodman and edited by his son, Chip. DAK envisioned a career and lifestyle turn not unlike Steve Englehart, on the West Coast. There, he helped create Demon Hunter-a character later reincarnated, so to speak, as Devil-Slayer at Marvel, illustrated by Rich Buckler.
He and best friend Roger Slifer took over scripting chores for DEFENDERS on Gerry Conway's sole story arc following Steve Gerber's departure, with #44. His first solo arc there would become perhaps his signature story at Marvel: "Who Remembers Scorpio?" His first arc paired him up with gifted Keith Giffen, an auteur who went on to great commercial and critical successes at DC.
Dave Kraft, or DAK as he came to be known, continued utility writing stories for annuals, while writing Defenders full-time in the late 1970s. In the next few years, Kraft went on to write nearly every major Marvel character, in comics, activity books- even a Sunday circular story, Spider-Man meets the Dallas Cowboys. Thor, Cap, Spider-Man, Dr. Strange, The Hulk, Tarzan, Dracula, and adaptations of the most memorable science fiction/ fantasy movies of the day were often adapted by Kraft, who also fondly recalls the get-togethers that broke out in off-the-cuff plotting sessions between Marvel creators. Trish Walker, aka Patsy Walker, who appears on Netflix's Marvel's Jessica Jones television series, was recruited to become a Kraft favorite in The Defenders, easily one of the most successful feminist heroines without resorting to text-book cliches in place of a vivacious, worldly personality! .
His philosophical Scorpio- with fears of aging, loneliness, and a decidedly Everyman demeanor, offering beers to his captives-is discussed a couple of posts back along with his Soviet Union/ environmentalist storyline featuring Red Guardian and the Presence. Here were my observations for #51 (1977) and its surrounding storylines, as related personally to Dave "The Dude" himself. I know the drama and comedy of "Who Remembers Scorpio?" gets a lion's share of love, but #51 packed more story into its first half alone than a lot of modern comics do in nearly two!
The Ringer was in one of my very first comics, but here his dialogue made him even more original! Val trying to enter college was a hoot! I think Stern- a writer I've enjoyed a lot from the 80's- got a lot of his riffs from you (Peter trying to leave grad school was similar to Val's entrance). It may have been one of those things where one internalizes the feel of stories or songs that impress you; Gerber was inspirational that way, too (and I'd love to talk about how some of his stories reflect conversations with fellow writer friends).
Here's one thing I just love about Nighthawk vs. The Ringer: you were deconstructing comics long before Alan Moore, and did it in a less sadistic & cynical way. I'd love to have seen Kyle internalize more of his unusual experiences, like with the Sons of the Serpent, the hilarious "Bring Back My Body To Me" plot, and this, for another, and reflect them in his quirky character, as it does rescue him from his Batman rip-off origins. You seem to maybe have identified with Moon Knight as a rougher-edged sort of hero, and pretty much have to confess you like Nick Fury; I imagine Steranko has something to do with that! Patsy's talk with Jack has some nice undertones- she's a really good character in and out of costume. Even with a double page spread, you got SO much into #51. Your fans really got their money's worth.
I adored JLI when I collected it in high school and college; there was Keith Giffen again, always creative and off-center but capable of straight-ahead derring do. Your Defenders issues, to me, anyway, and I'm back up to #54, seem to have inspired that JLI approach. I know you weren't the first guy to write witty superhero dialogue, but you really killed in 1977. I also enjoyed the 'Man Who Fell To Earth' reference (a 1976 sci fi movie starring David Bowie, directed by Nicholas Roeg) from Dollah Dollah Billz y'all, and I think with your double bill movie marquee in #53, you used the juxtaposition of that movie with Death Wish as a foreshadowed analogy between Val and Lunatik. Granted, Bronson didn't say "a hero ain't nothin' but a sandwich!" Maybe I'm reading too much into the choice, but I doubt it: that would be subtle. It did coincide with Prof. Turk & Val sharing a theater viewing! Tastes may vary, but these issues really speak to me and my personal aesthetics- it's fair to say they must've shaped them, which, since I read most of these outside #58-61 as an adult, suggests their quality and endurance as pop literature.
I don't know if Giffen was the one who suggested bring back Subby or if it was just a mutual convo in answer to letting go of Stephen a while, but between him, the Hulk and The Presence, there's some strong evocation of classic Marvel. And that was the idea at the time: keep what worked and endured from classic Marvel, but tell new stories that reflect the times and sometimes more sophisticated ideas, without losing the wonder. Val's college stint- I've got to guess that's your idea, and once again, you were writing better, stronger female super heroines before Claremont, who has that rep-that's so in keeping with what I love about classic Marvel: the mix of fantasy/ sci fi elements with quotidian themes. The Quotidian- how did HE not get made?
I don't want to leave out discussion of Scorpio and the Zodiac- they had some clever nuances, especially Jake Fury (or was that an LMD too?)- but you probably hear less about #51. Ringer crushing Kyle's flight backpack made for a terrific scenario- so much commentary without beating you over the head with the obvious. The scene was about stripping away Nighthawk's understanding of himself- grounding him, as it were. The callback to Scorpio in the aftermath was ingenious. Knowing how concepts work, I imagine some of this came together subconsciously, and it'd be interesting to hear how much of the process was set intention, and how much was found inspiration from the process.
As 1978 began, he also created his Blue Oyster Cult homage storyline in DEFENDERS, transforming lyrics and song titles into a saga about half-human, half-demon Vera Gemini's bid to rebirth the Demon Race on Earth as in ancient days.
Here's where he brought Dr. Strange back to the title and also brought Devil-Slayer into the Marvel mainstream. Look up my early blog "The Cult and the Kraft" from 2010 for more.
His departure in 1978 from Marvel followed a creative attempt to give Marvel another prestige format magazine story based on popular music idols, after the KISS Marvel Super Special became a runaway smash. On Marvel Super Special #4: The Beatles, with art by George Perez, Dave Kraft made a successful pitch of a deluxe, higher prestige format magazine at the board room level to James P. Galton, the publisher. Stan Lee took him on a shopping trip, to trade in his biker hippie look for a snazzy business suit, as chronicled in Sean Howe's Marvel Comics: The Untold Story. When he could not get the same deal for his other Marvel work, he left the company as a matter of principle. Before he left, he wrote an answer to the unyielding requests for various B- and C-list guest stars in the form of "Defender For a Day," chronicled in #s 62-64. When Wizard spotlighted the story as "The Best Comic (For All The Worst Reasons)" Kraft took their tongue-in-cheek article and framed it on his wall of celebrity and friend photos in his office in Krafthaus!
DAK bought his home in the mountains of northeast Georgia with his earnings. "Land was like $5000 an acre at the time," he recounted. One of his earliest guests while building his mountaintop home "Krafthaus" was David (Kung Fu) Carradine, shooting a movie a couple of miles away. He came by to pose for a picture and shoot the breeze with The Dude, balancing on the precarious balcony overlooking the valley below Screamer Mountain. He surprised DAK by telling him his two favorite Marvel characters were Dr. Strange and pop-lyric-reciting vigilante Lunatik. Who knew Carradine was a comics fan? Hearing a writer-much less the writer for these two characters, and creator of Lunatik- lived in the neighborhood where he was shooting, Carradine couldn't resist meeting him in person.
He no doubt heard, visiting Krafthaus that day, how Lunatik was quickly created one Friday afternoon at Marvel before Kraft and company left for dinner. Artist Carmine Infantino, who created the modern style and uniform of the Flash in the Silver Age seed of Showcase #4, turned up, asking for the plot and characters for the next issue, "to give him something to draw over the weekend." While Salicrup and Slifer waited, Kraft drew and colored the next nemesis. DAK modeled Lunatik on Alice Cooper, particularly the face painting, gave him a head of reddish-purple frizzy hair and a green jumpsuit (villain colors!), and set Infantino loose with a Lunatik designed on the spot!

Maybe you have to understand 70's cool to get the full-on vibe, but DAK and other creators broadcast the NYC feel in their comics and magazines read around the world. It is good to know someone came away still able to laugh! I can only imagine being there, just like I did as a child. We'll explore Kraft's 80's work and fortunes next time, when we establish who truly made the She Hulk as we've come to know her, plus the establishment of fandom staple David Anthony Kraft's Comics Interview! Have a look at my entry on the first Yi Soon Shin four issue series, for his present-day efforts with Chicago's Onrie Kompan. Don McGregor himself, replying to my happy birthday wish to him this year, mentioned his fond memories of the two of them editing The Variable Syndrome (novel, 1981) and Dragonflame and Other Bedtime Nightmares (1983) in The Green Kitchen restaurant to the wee hours of the morn. So! There’s still an awful lot to uncover, and that’s a fact! So pick us up the next time we talk about DAK! But meanwhile, give the moon a howl, and remember to wish DAK happy birthday wherever you are each May 31st. May your deadlines be undead lines, and may you slay’em!
-C Lue The Poet