comic book creator - comic book artist (vol. 2) #4

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This is a free sample of Comic Book Creator issue "Comic Book Artist (Vol. 2) #4" Download full version from: Apple App Store: https://itunes.apple.com/us/app/id739048849?mt=8&at=1l3v4mh Google Play Store: https://play.google.com/store/apps/details?id=com.presspadapp.comicbookcreator Magazine Description: Comic Book Creator magazine is the new voice of the comics medium, devoted to the work and careers of the men and women who draw, write, edit, and publish comic books—focusing always on the artists and not the artifacts. Each issue spotlights top creators through feature interviews, heavily illustrated with rare and unseen art, as they discuss everything from their current work and legacy in comics, to creator's rights and business dealings throughout their careers. CBC is edited by Jon B. Cooke, former editor of the multi-Eisner Award winning Comic Book Artist magazine. You can build your own iPad and Android app at http://presspadapp.com

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  • Captain Fear '2004 DC?Comics

  • KUDOS

    PHEW!Jon B. CookeEDITOR/CREATOR/DESIGNER

    Chris Staros & Brett WarnockTop Shelf Productions

    PUBLISHERS

    Manuel AuadSPECIAL CONTRIBUTING EDITOR

    Barbara Lien-CooperMANAGING EDITOR

    George KhourySENIOR ASSOCIATE EDITOR

    Christopher IrvingASSOCIATE EDITOR/CHIEF CORRESPONDENT

    Chris KnowlesASSOCIATE EDITOR

    Steven TiceTRANSCRIBER

    Greg PrestonCBA PORTRAIT PHOTOGRAPHER

    MASTHEAD AND COVER DESIGNBissel & Titus

    www.bisseltitus.com

    EDITORIAL INTERNAaron Kashtan

    CONTRIBUTING EDITORSDavid A. RoachFred HembeckMichelle NolanJoe McCabe

    TITLE ORIGINATOR/CBA CLASSIC LOGOArlen Schumer

    CBA MASCOTWoodyJ.D. King

    ISSUE THEME SONGGasolineAudio Slave

    COVER ARTIST

    Alex Nio

    www.topshelfcomix.comEditor: JonBCooke@aol.com

    Publisher: staros@bellsouth.net

    Comic Book Artist & 2004 Jon B. Cooke 27

    For the Celebrationof Comics

    SERVING READERS SINCE 1998

    This issue dedicated to friend and kindred spirit:

    Eddie CampbellWith affection to a good chumand fellow traveler in comics

    Finally! The FilipinosYou hold in your hands the most comprehensive examination todate by an American publication about the sublime accomplish-ments of an entire generation of Philippine artists, a talentedgroup who worked stateside in the 1970s to make a significantimpact in the U.S. comic book industry. This babys been in theoven for quite awhile, and its a confection weve wanted to serve for a helluva long time as we believe the Filipino Schoolto have been grossly neglected by the fan press but heres hoping this ish of CBA while a good start is but an open-ing volley as a substantive history of this subject is absolutelyessential. Certainly many of the artists herein are well-deservingof entire issues nay! entire books! composed about eachof them the late masters, Nestor Redondo and Alfredo Alcala,rate their own respective libraries, for heavens sake! (The latterartist, it is important to note, was the subject of HeidiMacDonald & Phil Yehs 1994 book, Secret Teachings of A ComicBook Master: The Art of Alfredo Alcala (published by theInternational Humor Advisory Council), a handsome (albeit slim)72-page trade paperback thats been long out of print.) We hopeyou enjoy this issue as much as we loved bringing it together.

    Manuel: The Man!Our greatest thanks go to friend and comrade MANUEL AUAD,San Francisco publisher of some of the best books about comicsever (and an Eisner Award-winner, to boot!), as well as thisissues special contributing editor. Ye Eds association with theguy goes back to the early days of CBA, and Manuels devotion tothe field and affection for many of the industrys greatest artistshas long been inspirational. But our pals work for this issue isnothing short of phenomenal: Not only did Manuel compile astunning selection of previously-unseen Filipino artwork andserve as go-between and facilitator for a number of his artistfriends, but he also composed biographical essays on quite a fewcreators, all of which you will find scattered about this ish. Ye Edwas so astounded by Manuels dedication never mind thesuperb volumes produced by Auad Publishing! that he askedMr. Auad to consent to an interview about his lonesome, whichyoull find in our Comic Book Chit-Chat section. Thanks, M.A.!

    DARs DedicationCBA must also give public acknowledgement to one of the most valuable assets in the field of comic-book research, Cardiff, Walesartist DAVID A. ROACH, a friend of Ye Ed, killer artist in his own right(now drawing the exploits of Judge Dredd in 2000 AD!), and unparal-leled funnybook scholar. DARs essay on Filipino artists in Americancomics, A to Z, was composed in record time. (Look for Ye Eds latestcollaboration with David, a history of DC Comics from 1967-78, in ayear or two we first edited The Warren Companion together.)

    And Lent the GentJOHN A. LENT, of course, is another mensch who contributed mightily to this special ish, giving us an enlightening overview of the strange and wonderful history of Filipino komiks. John is the editor-in-chief of the scholarly digest, The International Journal of Comic Art, an invaluable research for us comic-heads!

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  • DEPARTMENTS

    FEATURESTony DeZuiga Hex and Other Blessings 40Shaun Clancy chats with the first artist of the Filipino WaveAlex Nio The Fearless Artist 49The brilliant visionary creator on early days in the old country,hitting it big in the States, and a career beyond comic booksComic Book Artist Klasik 55

    Filipino Komiks color cover collection 54The Philippine Question: Ye Ed on the 70s Artist Invasion 57Context: A Brief History and Overview of the Philippines 58

    A-Z A Guide to the Filipino Comic Book Artists 60David A. Roach gives a Whos Who of Philippine Artists in U.S. Comics

    Filipino Komiks A History by John A. Lent 74The noted comics scholar provides a look at the home-grown comics

    Ye Eds Rant Back from the Abyss 4Knowles Knows Comic Books as Counter-Culture 6Khourys Corner On Georges latest book, True Brit 8McGregors Riding Shotgun Pop Culture 10

    Irving on the Inside Tony Millionaires Sock Monkey 14Comic Book Chit-Chat

    Will Power: The Brothers Cooke documentary on Eisner 15By GUM! Theres a new magazine to chew on 17Grocery Bagge: Peters Batboy in Weekly World News 18Paul Gravett interview on Manga: 60 Years of Japanese Comics 19Backstory: Fred Hembeck Destroys the Marvel Universe 21Alexa the Great: A rising star emerges from the Kitchen clan 27A Touch of Class: A chat with publisher Manuel Auad 31Fred Hembeck Dateline: @*!?# 39To Be Continued Whats coming & Chris Irving bio 112

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    COMIC BOOK ARTIST is published as often as possible by Top Shelf Productions, P.O. Box 1282, Marietta, GA 30061-1282USA. Jon B. Cooke, Editor. Chris Staros & Brett Warnock, Publishers. Editorial Office: P.O. Box 204, 3706 Kingstown Road, WestKingston, RI 02892-0204 USA 401-783-1669 Fax: (401) 783-1287. E-mail: JonBCooke@aol.com. Subscriptions are currentlyunavailable. All characters their respective copyright holders. All material their creators unless otherwise noted.All editorial matter their respective authors. 2004 Jon B. Cooke. Cover acknowledgement: Captain Fear 2004 DC Comics.Art 2004 Alex Nio. First Printing. PRINTED IN CANADA.

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  • BY DON MCGREGORSometimes, things really do seem to come full-circle.

    Its not just a storytelling device that cangive a sense of dramatic fulfillment, a bringingtogether of disparate people, places and events,in the midst of chaos, to make a satisfying whole;it also occurs in real life, and can have just assatisfying an impact as fiction.

    In this specific full-circle circumstance, I am referring to Joss Whedon and J. MichaelStraczynski, and the influence of and passionfor comics to their collective TV series, andback to the medium both acknowledge they love.

    Both Whedon and Straczynski have broughtthe continuity of mythology and the journeys ofcharacters lives over a vast periods of time, oncethe prime domain of the comics medium, sincethe 1960s, to their respective television series.

    Straczynskis Babylon 5 and Whedons trioof shows Buffy, the Vampire Slayer; Angel andFirefly are all wonderful, more or less weekly,TV series which seized upon the idea of epicmythologies filled with iconic characters, all toldin a episodic and periodic format.

    Comics were formally the primary domainfor that kind of storytelling, though their releaseschedule was seldom weekly, but normallymonthly or bi-monthly (occasionally as staticallyreleased comic series). A serial dose of words-&- pictures on the printed page, with eachunfolding issue capable of shaking up thestatus quo. That long wait betweenissues. Who knew what could happento those characters next?

    And, curiously, as the comicsmedium continues to struggle withwhether they should keep continuityor abandon or revise it, some TV, and evenmovies, have come to embrace the concept.

    Even more curiously, as many comics creators look to Hollywood to option their comiccreations as TV series or movie franchises (inother words, to give em their big break in La-LaLand, and maybe financial salvation), Whedonand Straczynski have traveled in the oppositedirection, coming back to a medium they haveboth said many times influenced and inspiredeach as a storyteller.

    Comics to film to comics.So much talent in comics has always been

    passionate about film, and just as many film-makers have reveled in comic books.

    I have always loved books and comics and

    films. I was working on film projects and novelsbefore I ever wrote comics.

    From my first regular comics series forMarvel, in the early 1970s, to my first graphic novels, Sabre (written in 1976-77) and Detectives,Inc. (69, in a rare, seldom-seen edition, and 81,from Eclipse), I wanted to give my readers stories that meant something to me, with charac-ters the audience hopefully would come to carepassionately about, something both Whedon andStraczynski do consistently in their medium ofdramatic television.

    These days, those first editions of Sabre andDetectives, Inc. would, in television terminology,be considered pilot episodes for proposed shows.Oh, I never thought of the books in those terms,although I certainly saw each in my head as theirown continuing series. I had conceived of at leastten plot-lines for Detectives, Inc. before finishingthe first one in 1969. Conceptually, I had seen thatseries as not just rooted in the mystery genre, butalso capable of encompassing any genre Idesired. For instance, I had at least one that was a straight-out fantasy horror motif.

    Another e