InvestComics Hot Picks #345

NEW InvestComics Hot Picks every week before New Comic Day on Wednesday!

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PLEASE READ DISCLAIMER BELOW

(Disclaimer: all comic recommendations are from a speculative vantage point. Not all comics are to guarantee a return on your investment. If you are here on the notion that you will make money ALL the time, you are in the wrong place. Please do not read this article. Although this article is used as a guide for investments, it’s more so for entertainment purposes. Any opinions or expression of investments in this article should be used at the sole discretion and judgment upon the investor, not InvestComics. So please use your own discretion when investing and have fun.)

InvestComics Hot Picks – New Release Comics on 11/12/14

Wytches_InvestComics Spider-Verse_InvestComicsBe sure to stop by the Capital Grading Services website for new updates. Like us on Facebook, Twitter, and Instagram. An announcement on the first exclusive signing coming soon!

Not each week does the opportunity present itself that a surefire hit will surface, that one book that will be an instant aftermarket success. This week however, there is that book (and another, but more on that in a bit); Wytches (2014 Image) #2. The success on issue number one was so great, that it will indeed spill over to the second issue, I guarantee it. Get your copy quick because it’s already sold out at the distributor. The reason for the success here? Put Scott Sndyer on writing duties, put Jock on art and cover duties, which equates to a fantastic story. Add to the mix of a possible movie deal and you have instant speculation gold.

A book that may take some speculators by surprise this week is Kitchen (2014 DC/Vertigo) #1. A reverting story line coupled along with the great DC imprint of Vertigo makes for a possible sleeper. The $10 variant is already sold out, so pay attention to this one.

New_Mutants_Annual_1_InvestComics Captain_Marvel_InvestComicsIt’s not too often that an IDW comic cracks the InvestComics Hot Picks list. The aftermarket never acts too kindly to certain independent publishers, this being one of them. That said, not to take anything away from them! They put out an outstanding publishing line. This week IDW gives us a rarer original content comic instead of a licensed one. Check out Bigger Bang (2014 IDW) #1 this week. Looks like a winner.

Drifter (2014 Image) #1 is sold out at the distributor, but is still available at some of the on line outlets. If you are afraid you may miss it at your local shop, you should probably buy it on line before that becomes a non-option for you.

What more can be said on here that hasn’t already been said about Spider-Verse? I have been alerting you for months about how important this saga is. Gave you a heads up on the Gwen Stacy issue too a few weeks ago. It begs repeating though just in case you haven’t been listening. This Spider-Verse story line is one of the most important speculation Spider-Man series to come out in quite some time. This isn’t “One More Day”, or “The Clone Saga”, this is a story line that will introduce and re-introduce every single Spider-Man costume, person, metal armor, and even an animal BACK into the fold of the Marvel universe all at one time. So to reiterate for the millionth time here, what does this Django_Zorro_InvestComics Rocket_Raccoon_Variant_InvestComicsmean for the speculator? It means that there are going to be an abundance of breakout characters here. Old and more importantly NEW! If you are a reader or a speculator, you need to get on every single Spider-Verse book. Anything Marvel throws at us, get it. There will be introductions (and reentries) in books that you were not expecting and BAM the book will blow up because the character(s) suddenly are at the forefront of a new book, or appear in another thus creating a mad frenzy to find that first appearance. I said it from the beginning, the Spider-Verse story line is a huge marketing monster with tremendous potential to explore and introduce new Spider characters. Do not sleep on this specs. So with all of this stated, Spider-Verse (2014) #1 will do all of the above mentioned. The team of Dan Slott and Humberto Ramos begin the awesome series. There are two separate stories introducing two new spider characters. Yes this book, better yet, this series is one to get without a doubt!

And speaking of reintroduction’s, check out Silver Surfer (2014 5th Series) #7. There will be characters reintroduced into the Marvel lure that promise’s to blow readers away. Be sure to take a look and make an executive decision on whether or not to pursue this issue and the first appearances of our old guest. Oh and the best best part of this comic.Want to know? Dan Slott is the writer! So pulling double duty here with the reintro’s.

Miles Morales Ultimate Spider-Man (2014) #7 will focus on the question; who is Katie Bishop? Maybe she is going to play a major role in the Ultimate Spider-Man universe. Maybe not. Either way, her first appearance was in Ultimate Comics Spider-Man #12 (2012).

All New Captain America (2014 Marvel) #1 will be accompanied with 9 variant covers at last count. This gimmick will be short lived because most likely Steve Rogers will be back in given time and Sam Wilson will be out. A “new” CaptaiJon_Sable_Freelance_1_InvestComics Superior_Iron_Man_1_InvestComicsn America is not “new” anymore and it’s grown a bit, become tiresome and non-eventful. It may sell out, but don’t look for record breaking aftermarket numbers here. The $200 variant is the only outstanding book sold out book at the moment. More of the same with the other new book the “new” Captain America will appear in this week; Captain America and the Mighty Avengers (2014) #1. There is a very nice $3.99 Rocket Raccoon variant to check out though.

Guardians 3000 (2014) #2 will introduce a new Herald to Galactus.

A new Iron Man book will turn some heads. Check out Superior Iron Man (2014) #1.

Captain Marvel has been in the news lately. Have you seen that? Something about a movie. Anyway, in this weeks Captain Marvel (2014 8th Series) #9 all eyes will be on Lila Cheney. She guest stars. Lila first appeared in New Mutants Annual #1.

Hero_2014_InvestComicsThe new Hero Initiative comic Hero Comics (2011 IDW) #2014 will feature a new Maxx story from Sam Keith. Mike Grell will provide a new story on his character from 31 years ago, Jon Sable, Freelance. A hot book for a little bit back then. Check out Jon’s first appearance in Jon Sable, Freelance #1 (1983) from First Comics. And incidentally, First Comics are making a comeback with their new release Badger comic coming soon. They were great back in the 80’s. I’m sure they will put out some great reading material this time around as well.

An odd pairing from Dynamite Entertainment this week. Django Zorro (2014 Dynamite) #1. Yes that’s right Django and Zorro?! Sounds like fun! Here’s the most awesome part of this comic release. It’s written by Quentin Tarantino! Get a CBCS witness signature on this comic, score a 9.8 and you have yourself a nice book. We’re on the saddle with this comic. The variants are fantastic too. The favorite is posted here, Nice.

A couple of other number one comics to take a peak at this week; Deep State (2014 Boom) #1 and Resurrectionists (2014 Dark Horse) #1.

Don’t forget to check out the updates on the Capital Grading Services website (www.capitalgradingservices.com).

See you soon. Invest wisely.

Bigger_Bang_1_InvestComics Kitchen_1_InvestComics Miles_InvestComics Ultimate_12_InvestComicsCarpe Diem.

Jay Katz

SAM KIETH & CHRIS RYALL TEAM UP FOR MARS ATTACKS

Unique Sci-Fi Tale Will Tell The Story Of The First Earth Born Martian

San Diego, CA (January 30, 2014) – There have been many stories told in the Mars Attacks universe, but possibly never one quite like this. Beginning in May, Chris Ryall and Sam Kieth, the team behind The Hollows, join forces once again to tell the story of Mars Attacks: First Born.

First Born, a four-issue series written by Ryall from a story co-plotted by Ryall and Kieth, and featuring art and covers by Kieth, tells a deceptively quiet story of the aftereffects of the Martian invasion: in a devastated neighborhood, a few survivors try to rebuild their lives. One of those survivors is an infant Martian, left behind in the attacks. But was she left behind on accident, or as part of a more nefarious plan? Does nature versus nurture apply to horrible invaders from Mars? These are some of the themes being explored in this series. Also: giant bugs.

“This series is a multi-tiered love letter,” said series writer and IDW Chief Creative Officer/Editor-in-Chief Chris Ryall. “Every page shows not only the love Sam and I have for Mars Attacks, but also wild science-fiction tales from the past, the sorts of things Wally Wood drew in the pages of Weird Science-Fantasy and other EC comics. Our adoration of Wally’s work is front and center in this series, but it’s also a great next move for Sam and I after the working relationship we developed on The Hollows. And it surely gives Mars Attacks fans something special, in addition to also giving them some of the wanton carnage and gallows humor they’ve come to expect.”

The influence of classic science-fiction stories of years past extends to the variant covers for each issue, too. Artist Loston Wallace pays homage to classic Wally Wood EC covers in each image he’s creating for the series.

“Sam has been a friend to Topps for more than 20 years, and we’re happy to see him finally put his stamp on Mars Attacks,” says Adam Levine, Topps’ Head of Outbound Licensing. “His wild style and one-of-a-kind sense of storytelling will no doubt bring a fresh take to our classic Martians.”

Mars Attacks: First Born #1 (of 4) launches in May.

About IDW Publishing
IDW is an award-winning publisher of comic books, graphic novels and trade paperbacks, based in San Diego, California. Renowned for its diverse catalog of licensed and independent titles, IDW publishes some of the most successful and popular titles in the industry, including: Hasbro’s The TRANSFORMERS, G.I. JOE and MY LITTLE PONY; Paramount’s Star Trek; Nickelodeon’s Teenage Mutant Ninja Turtles; 2000AD’s Judge Dredd; The Rocketeer; Toho’s Godzilla; Wizards of the Coast’s Magic: The Gathering and Dungeons & Dragons; and the Eisner-Award winning Locke & Key series, created by best-selling author Joe Hill and artist Gabriel Rodriguez. IDW is also home to the Library of American Comics imprint, which publishes classic comic reprints, Yoe! Books, a partnership with Yoe! Studio, and the multiple award-winning Artist’s Edition imprint.    IDW’s critically- and fan-acclaimed series are continually moving into new mediums. Currently, Jerry Bruckheimer Films and Disney are creating a feature film based on World War Robot; Dwayne “The Rock” Johnson and Warner Brothers are producing a film based on Ashley Wood’s Lore; Michael Bay‘s Platinum Dunes and Sony are bringing Zombies vs. Robots to film, Kurtzman/Orci are producing a movie based on Locke & Key at Universal.

IndieCreator: with Duncan Eagleson

 

 

 

 

Sandman, Smackdowns and Elf Love with Uber Artist Duncan Eagleson

This week we return to the Promised Land − good ‘ol comics. We drifted away to film and music for a few interviews but now we’re back where we belong. And our “comeback to comics” is sure to make a splash. As big a splash, we dare say, as WWE wrestler Kane’s return in December 2011 when he beat down John Cena and revealed not one − but two leather masks.

And irony of ironies, the subject of our interview is the same insanely talented artist/craftsman/illustrator/writer who created those now-iconic masks for Kane (See? Everything has a purpose!)

Dunn-dunn-dunn!

He’s none other than Duncan Eagleson. I’ve been fortunate to have Duncan involved in a few anthologies I’ve worked on and recently begged/pleaded/cried to have him create some key art for my upcoming micro-budget feature BLESSID. As usual, he exceeded expectations.

You see, Duncan Eagleson is a perfectionist. As such, I am going to use his words rather than my own to describe his accomplishments:

“Illustrator, graphic designer, painter and sculptor, Duncan Eagleson has created art and designs for book covers, movie posters, advertisements, corporate identity projects, videos, magazines, and even T-shirts, for clients such as Doubleday Books, Tor Books, New Line Cinema, Warner Communications & DC Comics, rock groups like The Who, Phil Collins, and Def Leppard. In comics, he contributed art to Neil Gaiman’s Sandman, adapted and illustrated Anne Rices’ The Witching Hour. He has created sculpted leather masks for Wes Craven’s Cursed, the WWE wrestler Kane, the Smithsonian, the Big Apple Circus, and magician Jeff McBride. Portfolios of his work, both digital and traditional, can be found at eaglesondesign.com, and on his Deviant Art page at duncan-eagleson.deviantart.com. His sculpture and masks can be seen at maskmaker.com.”

1) You have a long and impressive resume, but one thing that jumps off the page is your work on issue #38 of The Sandman — “Convergence, The Hunt” (1992, DC/Vertigo). What was it like working with writer-savant Neil Gaiman?

(DUNCAN:) Top question everybody asks. I’m happy to be able to say that honestly, it was really great.  Neil had certain elements he really wanted the art to reflect − mainly the nine-panel grid structure for the pages − and he was quite patient about explaining why that was important (he wanted the physical structure of the pages to reflect the formal story structure of the “fairy tale” sort of story). Beyond that, he was very hands-off, trusting me to do what I wanted with the art. Neil really is the way he appears in interviews and public appearances: a very unassuming, courteous gentleman, and very easy to work with.

The only minor bump in an otherwise utterly smooth ride had nothing to do with Neil. Some of the powers that be at DC/Vertigo felt the “werewolf sex” scene toward the end of the book was too graphic − despite the fact there were no actual naughty bits showing, I guess it was a bit too obvious what was going on. So I had to tone it down for publication. We went through a couple of versions before they were satisfied that it was family-friendly enough. Which was okay with me − I wasn’t about to scream “Censorship!” or anything. It was DC/Vertigo’s book, they were paying for it, they should get the sort of product they need. To me, it was no different than any other revision. I did, however, save the original pencilled panels.

All in all, the whole thing was a great experience, including, by the way, seeing my pencils come to life through Vince Locke’s brilliant inking. It was almost as if Vince was in my head, doing exactly the inking I would have done myself, if only I’d had the sort of mad inking skills he has.

2) Around the same time you did Sandman you also worked wrote and did art for several issues of Anne Rice’s The Witching Hour comic book series. What was this experience like?

(DUNCAN:) That was a bit of a mixed bag, especially toward the end. It started out looking great − they came to me at first for the art, and they didn’t have a writer. I had just recently read The Witching Hour, and I was wanting to start building a name as a writer, so I convinced them to let me script as well.

Between scripting and illustrating, I had no time to get involved in the marketing, but I probably should have tried. They were marketing the book to comics venues, treating it as if it were a superhero book, which wasn’t the best choice. The Anne Rice audience was huge − but they’re not your typical superhero comics audience. As it was, I think we got some respect from folks in the industry − the one time I met Kelly Jones, he was kind enough to say he thought The Witching Hour was the best full painted book on the market at the time − but the sales of the first couple of issues were disappointing.

To be fair to Millennium, novel adaptations are always a hard sell in comics, and traditionally don’t do very well. And although I think The Witching Hour might eventually have found its audience, they just didn’t have the kind of funding to hold the line until that happened, they needed to make money off the book right now.  And that wasn’t happening. So the book got cancelled, and shortly thereafter, the company went belly-up.

As an artist & storyteller, however, I had a great time doing it. I unleashed everything I had learned about drawing and painting and visual storytelling on that series.

At the time, my idol in comics was Bill Sienkiewicz. That man’s full-painted comics art was some of the most inspiring, innovative, and masterful work I’d seen in years, with the possible exception of Dave McKean. Considering how extreme he got with some of that work, it’s amazing to realize that he always managed to keep it in the service of the story, never let it become all about the art. No matter how stunning any individual page or panel was, he designed it to keep you caught up in the characters and the narrative, moving forward through the story. That’s not easy to do when you’re also pushing the boundaries of what has been done visually in a medium.

I tried hard not to imitate Sienkiewicz − or Bernie Fuchs, or Bob Peak, who I was also looking at a lot in those days − but to use their examples as an inspiration, to adopt a similar conceptual approach without also adopting anyone’s specific signature devices. And I think I mostly succeeded, giving the book a unique look and feel.

This was in the days before the use of Photoshop had become common, and I was doing a lot with Xeroxing drawings and photos onto colored paper, and painting over them with gouache, acrylics, airbrush, and pastel pencils. At one point, my editor, Jordan Bojar, called me up and said “I don’t know how you created this, what kind of techniques you’re using, but whatever they are, don’t ever reveal them to anyone.” Of course, I said “Why not?” I’m always happy to share whatever I’ve learned with someone who wants to know. “Because this is unique, these techniques are a gold mine,” he said. I thought he was nuts. Far as I’m concerned, anyone who wants to try out these techniques, knock yourself out. If you’re a mediocre artist looking for a gimmick, you’ll produce a cheap knockoff. If you’ve got imagination, and are good at what you do already, you’ll do something else with it, use it to develop your own unique creation. Why would I feel threatened by either possibility? A cheap knockoff will almost always be seen for what it is, and an imaginative, unique creation deserves to succeed, and be cheered on.

3) Did you ever get to meet the “Queen of Vampires”?

(DUNCAN:) I never did. She seemed to keep a certain distance from the comics versions of her works − or at least Millennium’s comics versions, which included The Mummy as well as The Witching Hour.

I did talk to her personal assistant once. Long after The Witching Hour and Millennium had both tanked, I heard that the comics rights to Anne Rice’s books had reverted to her, and she had announced her intention to do her own graphic novel versions of all her books. I had always felt I’d love to finish the series, so I called her office to see if they were interested in my working with them. Her assistant was very polite and cordial, but also very non commital, and the basic message was “Don’t call us, we’ll call you.” And of course, they never did. As far as I know, they eventually abandoned the whole graphic novel idea.

4) More recently, you were involved with another Pop icon. You created two leather masks for WWE wrestler Kane’s “resurrection” when he intruded on a matched and rudely slammed John Cena to the mat. How did you get involved in the melee?

(DUNCAN:) People who know my work from comics and book covers may not be aware that I’ve been making sculpted leather masks for many years. I’ve made masks for many theater productions, for the Big Apple Circus, for mask magician Jeff McBride (a long-time friend), for Wes Craven’s movie Cursed, and even for the Smithsonian. If you Google “leather masks,” my mask website (maskmaker.com) usually turns up in the first few results. Which is how the Creative Director from the WWE found me.

I went and met with the creative director and production designer, and of course, Kane himself. They already had certain ideas about what they wanted the masks to look like, but were willing to listen to my input, as well. I sat down with Kane and talked with him about his previous masks, about what worked well, and what didn’t, and how we could improve on what he’s had before. In the end, I made two masks, the red inner mask, and a sort of over-mask that looks a little like a welder’s mask.

5) Another notable piece is Hollow which you worked on for Archaia Studios Press. The pages on your website have a definite “extraterrestrial” vibe. Can you explain the storyline since you did the pencils and ink for issue 1 in 2010?

(DUNCAN:) The writer on the Hollow was a very talented young man named Larime Taylor. I had worked with Larime before, providing masks for a play he wrote and directed, Call of the Dragon. When he came up with Hollow a few years later, he got back in touch, asked me if I’d be willing to pencil and ink issue one.

Those creatures that look rather like extraterrestrials are actually the beings who conduct dead souls into the light or the darkness. They’re also the beings responsible for placing souls into babies. And they’re all upset because one got missed − there was a child born without a soul. Both the dark and the light are hunting for this soul-less child, who in the meantime has grown up, and is about to come of age, which redoubles the urgency with which the agents of Light and Dark are searching for him/her/it.

6) My favorite Duncan Eagleson work is Railwalker: Tales of the Urban Shaman. 

(DUNCAN:) Thanks very much.

6.1) Explain the premise to our readers. What are your plans for the series?

(DUNCAN:) The premise behind Railwalker was the idea of a genuine urban shaman. This guy (who we know only by his street name, Brick) has no cultural tradition behind him, no elder indigenous shaman he apprenticed to − he was just a guy from the streets of Brooklyn, a graffiti writer, who one day found the crows started talking to him, and teaching him things. He had no idea, at least in the beginning, that what the crows were teaching him is what anthropologists would call magic and shamanism.

Brick actually started out as a supporting character in a graphic novel I was trying to sell back in the 80s. In the 90s, the Earthspirit Community approached me about doing a comics series that would tie in to their Rites of Spring Festival (they had in mind either a single-panel, or a four-panel strip format), and I thought Brick would be the perfect protagonist − he’s a total outsider to modern magic and neo-paganism, but he’s an intelligent and sympathetic outsider.

When I started the series, I was thinking in terms of humorous strip comics, and was working in a kind of cartoony style. But I’ve never really thought of myself as a humorist, and the humor in Railwaker at Rites is generally not a broad laugh-out-loud kind of humor, but more wry and dry. So as the series went on, I gradually started transitioning the look of the art to a more sophisticated realistic style, which seemed more appropriate to the material I was writing. People seemed to like it, so I kept it up. The strip ran for three festival seasons, and after it ended, I set up a web site specifically for Railwalker.

Not long afterward, I started experimenting with animation in Flash. Over the course of the next couple of years, I created a short animated Railwalker movie, Keys, in several chapters. Keys tells one version of how Brick became the Railwalker (yes, there are others).

I had toyed with the idea of doing another short animation based on Beowulf (this was long before the Avary/Gaiman CG film version), but I was going to set it in a post-apocalyptic world, with a Mad Max type character as the hero. As I worked on the script, it started to morph and change and grow, and one day I thought, “Screw the animation, this wants to be a novel.”

So the Mad Max-like character became one of an order of traveling Warrior-Shamans, and what better to call his order than the Railwalkers? Which told me that after the Great Crash, Brick must have founded an organization to battle the chaos and monsters that appeared in the Crash’s wake, right? Since the Beowulf poem is in one sense a paean to the passing days of the great heroes, to be true to the flavor of the thing, my tale would have to happen during the final years of the Order, when they’re in their decline. So we’re 300 years after the Great Crash.

(“Harkinton,” the short story I did for the 2012: Final Prayer anthology, tells a tale of Alec Bane, one of the “Five Ravens” who formed the first generation of Brick’s Railwalker Order.)

With the working title of Wolf, the novel that resulted was something like Beowulf as a post-post-apocalyptic noir occult thriller. If that makes any sense. I didn’t really set out to blend, or transcend, or mashup all that many genres, but that’s the way the story developed. Of course, in allowing myself the freedom to do that, I probably hurt my chances of being picked up by a mainstream publisher. Those folks need to be able to neatly categorize and pigeonhole their product, and this novel would be tough to do that with. How do you market something like that? I wasn’t thinking about marketing the thing until after it was written. However, it’s been picked up now by one of the small presses, and should be out within the year.

As a result of that novel, I had a whole history of this order to come up with (at least in broad outline), not only in the formal organization created by Brick, but also in its roots, the many individual Railwalkers who had existed through history before Brick. Railwalker lore tells of a depression-era hobo, a traveling bluesman in the 1920s, an aristocratic Englishwoman of the Victorian period…  but the Railwalkers seem to appear only after the Industrial Revolution.  Which has to do, I’m sure, with their being particularly urban shamans.

I have two books of an urban fantasy series done, and a third in progress. They don’t involve Brick or the Railwalkers. At least not yet. But they will tie into the Railwalker universe timeline, and end in the Great Crash.

I also have some notes and sketches for what would be, not exactly a sequel to Wolf, but a story set around the same time and place, with a few overlapping characters, but no direct connection to the events of Wolf.  But that’s an embryonic project, so don’t hold me to that − the thing could still evolve in a different direction.

7) You’ve done some short graphic works as well. Recently, you did pencils and ink for some work that appeared in Elf Love (Pink Narcissus). I had the pleasure of doing a review of this great fantasy anthology. Tell us about your work and the anthology.

(DUNCAN:) Thanks, glad you liked the anthology, and thanks for the good review.

A friend sent me the call for short story submissions for this anthology. At first, I wasn’t very interested − I didn’t think I had anything to say about elves, particularly elves and love. But the idea got under my skin, and a few days later, I had not one, but two story ideas. I wrote them both up, submitted them, and to my surprise, they accepted them both.

Then I got a phone call from the Pink Narcissus Editor-in-Chief, Rose Mambert, saying, “Hey, you’re an artist, too, right?  Would you be interested in doing the cover for this book?” Long story short, I not only did the cover, but continue to do graphic design and occasionally illustration for them. Oh, but you asked about “Of Roots and Rings”, the comics story in that anthology…

I belong to a writer’s group, and one of my friends there, Sarah Eaton, is a terrific playwright. When she learned about Elf Love, she was intrigued, and had a story in mind for it. But she had never done a text story, had only ever previously written scripts. So I said, “Well, write it up as a script, and I’ll see if Rose is willing to have me illustrate it as a comics story.”  When I broached the idea to Rose, she was delighted, said they’d love to include a comics story in the anthology.

“Of Roots and Rings” was great fun to illustrate. Especially since the historical material that appears toward the end gave me a chance to revisit the historical montage look I’d been using for certain sequences back when I was doing The Witching Hour. I love doing that stuff, it’s almost like a comics story within the comics story.

8) Which is your greatest passion: writing, drawing, painting or mask-making?

(DUNCAN:) Storytelling, in whatever form. Everything I do, even making masks, is in some sense a form of storytelling.

I think that the desire, the need, to tell stories is the creative engine that drives all artists, even the ones who think they’ve transcended the narrative urge. They’re still trying to communicate, to say something, and that something has a context, a story, which they can’t avoid invoking or referring to in some way, even if only obliquely.

It’s all about The Story.

9) What writer and artist makes you go, “Damn, how did they put that much talent in one person?”

(DUNCAN:) You mean someone who writes AND illustrates? Well, Eisner, of course, he’s the grand old man of writer/artists. Howard Chaykin − I think one of the finest science fiction comics series ever created was Howard Chaykin’s American Flagg! Brilliant work by a brilliant artist/writer. Mike Mignola consistently amazes me, his visual storytelling is superb. Frank Miller, Matthew Dow Smith, Sam Keith, Dave Sim, Phil Foglio, Matt Wagner…  I could go on, but those are the top names that spring to mind right now.

10. What’s next for you?

(DUNCAN:) I’m off to Necon July 19-22, then it’s back in the studio for a while. I’ve done a lot of events the last few months, showing masks and art, plugging my writing, and I need some uninterrupted time to get some new work done. There are covers to be done for Pink Narc books, and Wolf will be going through the editing process.

I’ve just finished a steampunk novel in collaboration with Rev DiCerto − we’re now giving it the last once-over and final polish before we submit it. I’m working on another novel of my own, in a different, darker genre. I’m also preparing a proposal-slash-presentation on an illustrated novel, in which a depression era carnival encounters the local Fae in an obscure hamlet in the backwoods of New York State. The story is loosely tied into the mythology of the New York Faerie Festival. If you wanted to get all “high concept” about it you could call it Gaiman’s Stardust meets HBO’s Carnivale. Watch for the Kickstarter campaign, hopefully mounting this fall.

Also, I can’t talk details yet, but just this morning I was invited to participate in a new anthology where the rest of the authors are mostly famous science fiction writers. No pressure, or anything, right? It’s a great opportunity, and I’m looking forward to the challenge of living up to the standards of that august company.

11) Big finish − where can people go to see your work and buy your comics, masks and other creative endeavors?

My online portfolios are at Eagleson Design and my Deviant Art page is here.

Prints are available both at the Deviant Art page and at my Zazzle Store.

Masks and sculptures are on maskmaker.com.

Keys and other Railwalker stories can be found at Railwalker Comics. The Railwalker story “Harkinton” appears in the Heske Horror anthology 2012: Final Prayer.

Some of my short fiction appears in two anthologies from Pink Narcissus Press, Elf Love and Rapunzel’s Daughters, and I’ve done covers for their Bleeding Hearts and Feasting with Panthers, terrific novels both.

Thanks Duncan. May the Muse be a crow on your shoulder and ever whispering in your ear.

An award-winning indie comic creator and screenwriter, Bob Heske wrote THE NIGHT PROJECTIONIST. This graphic novel hit stores on July 5th at a price point of only $12.99. Order your copy at your local comic shop today – tell them the Diamond code is MAR121187! It can also be ordered on Kindle and on Amazon.

Bob has also published COLD BLOODED CHILLERS, the award-winning anthology BONE CHILLER and his end times tome 2012: FINAL PRAYER. BONE CHILLER and 2012: FINAL PRAYER are also available on Amazon Currently, Bob is making his family nervous by investing his time and money on an incredible micro-budget film called “Blessid”.

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Bob’s website is www.coldbloodedchillers.com.

30 DAYS OF NIGHT EVERY 30 DAYS

IDW Announces 30 DAYS OF NIGHT Ongoing Series

Steve Niles returns to pen an all-new monthly series beginning in October

 

San Diego, CA (July 5, 2011)—IDW Publishing today announced an all-new, ongoing 30 DAYS OF NIGHT comic book series, starting in October. Original co-creator Steve Niles returns to his first creation with this latest chapter in the 30 DAYS OF NIGHT series, joined by 30 Days of Night: Night, Again artist and The Maxx creator Sam Kieth. Niles and Kieth depict an epic story that shifts from Barrow, Alaska, to the city of angels, Los Angeles.

 

“I’ve been wanting to get back into the 30 Days of Night universe and shake things up for awhile now” said creator Niles. “I’ve just been waiting for the right moment, and the right artist. I have the right artist in Sam Kieth and the time is now.”

 

This terrifying new tale begins when a letter from Barrow, Alaska, carries a cryptic warning to a young, curious woman, leading her down a rabbit hole and face-to-face with her desires… and likely her demise. Elsewhere in Los Angeles, a vampire resurrection ignites, which could threaten the very way of life of all mankind.

 

“After several years away, Steve has returned to the 30 Days of Night world with a renewed vigor,” said editor Denton J. Tipton. “He has a great vision for the long game with surprises that even Steve didn’t see coming. And having Sam bring his mad genius to the project is like manna from heaven. Or, more appropriately, manna from hell.”

 

This new, ongoing series features a fresh cast of characters being introduced to the world of 30 DAYS OF NIGHT for the first time.  Fans are encouraged to ask their retailers about the rare Fiona Staples cover and vampire plush dolls.

 

“Honestly, I have nightmares because of this book,” added Tipton. “Steve and Sam are seriously deranged. I’ve read things that would make Freud blush. I’ve seen things that would make Chuck Norris vomit. Horror fans are going to love it.”

 

 

30 DAYS OF NIGHT #1 ($3.99, 32 pages, full color) will be available in stores in October 2011.

 

 

Visit IDWPublishing.com to learn more about the company and its top-selling books.

 

 

About IDW Publishing

IDW is an award-winning publisher of comic books, graphic novels and trade paperbacks, based in San Diego, California. Renowned for its diverse catalog of licensed and independent titles, IDW publishes some of the most successful and popular titles in the industry, including: Hasbro’s The TRANSFORMERS and G.I. JOE, Paramount’s Star Trek; HBO’s True Blood; the BBC’s DOCTOR WHO; Toho’s Godzilla; Sony’s Ghostbusters; and comics and trade collections based on novels by worldwide bestselling author, James Patterson. IDW is also home to the Library of American Comics imprint, which publishes classic comic reprints; Yoe! Books, a partnership with Yoe! Studio; and is the print publisher for EA Comics.

 

IDW’s original horror series, 30 Days of Night, was launched as a major motion picture in October 2007 by Sony Pictures and was the #1 film in its first week of release. More information about the company can be found at IDWPublishing.com.