DRIFTER ISSUE 1 VARIANT COVERS

abrampollux:

here are all 3 covers to the first issue of DRIFTER

COVER A painted art by Nic Klein with design by Tom Muller.

Diamond order code SEP140546

image

COVER B painted art by Esad Ribic with design by Tom Muller.

Diamond order code SEP140547

image

COVER C art and color by Cliff Chiang with design by Tom Muller.

Diamond order code SEP140548

image

Source: abrampollux

DRIFTER 2

abrampollux:

Hi there-

May we present to you Nic Klein and Tom Muller’s cover A to DRIFTER 2, out in December?

DRIFTER #2
story: IVAN BRANDON
art / cover A: NIC KLEIN
        
cover B: BECKY CLOONAN

DECEMBER 17 / 32 PAGES / FC / M / $3.50

Abram and the Sheriff explore the sunken ruins of Abram’s crashed ship. In search of answers, they find a horde of scavenging raiders and a lightning storm that brings more than just thunder and rain.

image

Source: abrampollux

i have no idea

HI GUYS MAKIN’ COMICS

abrampollux:

Progression of a panel from DRIFTER. From layout scribble through to final art.

Source: abrampollux

LISTEN TO GILLEN. only this time. kierongillen:

Er… I did this.
The Wicked + the Divine is out on June 18th. If you pre-order before May 26th (i.e. Monday) you can guarantee a copy and make us all very happy. When I say “Us” I mean “Me.”
ZoomInfo
LISTEN TO GILLEN. only this time. kierongillen:

Er… I did this.
The Wicked + the Divine is out on June 18th. If you pre-order before May 26th (i.e. Monday) you can guarantee a copy and make us all very happy. When I say “Us” I mean “Me.”
ZoomInfo
LISTEN TO GILLEN. only this time. kierongillen:

Er… I did this.
The Wicked + the Divine is out on June 18th. If you pre-order before May 26th (i.e. Monday) you can guarantee a copy and make us all very happy. When I say “Us” I mean “Me.”
ZoomInfo
LISTEN TO GILLEN. only this time. kierongillen:

Er… I did this.
The Wicked + the Divine is out on June 18th. If you pre-order before May 26th (i.e. Monday) you can guarantee a copy and make us all very happy. When I say “Us” I mean “Me.”
ZoomInfo
LISTEN TO GILLEN. only this time. kierongillen:

Er… I did this.
The Wicked + the Divine is out on June 18th. If you pre-order before May 26th (i.e. Monday) you can guarantee a copy and make us all very happy. When I say “Us” I mean “Me.”
ZoomInfo
LISTEN TO GILLEN. only this time. kierongillen:

Er… I did this.
The Wicked + the Divine is out on June 18th. If you pre-order before May 26th (i.e. Monday) you can guarantee a copy and make us all very happy. When I say “Us” I mean “Me.”
ZoomInfo

LISTEN TO GILLEN. only this time. 

kierongillen:

Er… I did this.

The Wicked + the Divine is out on June 18th. If you pre-order before May 26th (i.e. Monday) you can guarantee a copy and make us all very happy. When I say “Us” I mean “Me.”

Source: kierongillen

TCAF 2014

I’ve been to TCAF in Toronto 2 years in a row now, and both years it’s been extremely hard for me to express how I’ve felt about it, or to describe what it is or how it’s different from every other convention or festival experience I’ve ever had. It’s less a question that it’s better (even though it probably is), and more a question of how unique it is. It’s impossible to compare it to other shows, it isn’t like those shows. 

Every person I spoke to last week at the show was effusive, the first-timers called it their best experience at a convention.  The closest I can get to describing it is that it’s almost as if a US convention and a european festival were grafted together.  

American conventions tend to lean either heavily towards superhero content or the other way completely. For someone like me who’s dead center between the mainstream and independent worlds, I can end up feeling lost between those currents. 

I don’t feel that at TCAF. It’s a big world with a lot of different islands, and everyone’s supposed to be there. It’s inclusive and moreso than that, it’s INVITING. 2 days in that place and I’m ready to do great work. Whether I’m capable is a conversation for another day.

My thanks to everyone I saw and everyone I met, especially my amazing host Alex Hoffman, interim host Steve Manale, the incomparable Chris Butcher and my guides through all of my terrible night-time decisions, Andy Belanger, Cameron Stewart, Michael Cho, Clark Burscough, Brenden Fletcher, Karl Kerschl and the zillion other crazypants geniuses I encountered in my weird Canadian Ferris Bueller adventure. 

I feel like a slightly better person. 10 more years like this I might elevate to human. 

6travel, tour,

TORONTO SIGNING SCHEDULE

This weekend I’ll be signing on Saturday and Sunday at TCAF in Toronto. I’ll have a few books and some prints and probably some kind of alcohol poisoning. 

http://torontocomics.com/news/tcaf-2014-signing-schedule/

6tour, travel,

the world we live in

  • me:what the fuck was that shit with toronto at the end? wanting the ball back and then throwing it at brooklyn’s basket
  • him:There is a Carl's Jr./Hardees commercial with Quicksliver in it. That's the world we live in.

6nba,

i never read a self-help book before

Source: luckypeach

oldshowbiz:

kaiser Billy Wilder with his Oscars

(via mattfractionblog)

Source: oldshowbiz

2013, good night

We bought a house. I got hired to write a movie. I lost my uncle. I lost my stepfather. I spent a year mostly at home in the US, in NY, mostly at work, I drove through every part of Brooklyn. I rode the Cyclone. I wrote a video game. I wrote several hundred pages of comics and almost none of them were published.

New original comics creations started selling better than they have in my adult life. Selling twice and three times what my friends and I had ever hoped for starting out. For the first time since the 90s, people were making money again on things they’d created. Real money. 

The oldest publisher in comics announced that they were moving from Manhattan to another planet. Most of my friends decided to stay in NY. Some of them will probably leave comics after a lifetime in making them.

By this time next year, a majority of the roles in comics will have changed hands. 

Maybe one of you will be my boss. In advance: I’m sorry. It will never happen again.

2013 went so high and so low that I felt like I was 16 again. I was happier than ever. I was sadder. I felt old. I felt like I’d grown for the first time in years. I loved writing again. 

It was the best year I can remember. 2013 was the craziest girlfriend I’ve ever had. 

6large,

THE TOP 10 MOVIES OF 2013 (maybe)

i thought it was a pretty great year for movies, especially in the 2nd half. here’s the stuff i liked the most:

1. la grande bellezza
2. only god forgives
3. frances ha
4. inside llewyn davis
5. the wolf of wall street
6. upstream color
7. her
8. the counselor
9. gravity
10. the kings of summer

6talkies,

Digital Baubles: The Only Statement I Will Make On The Matter f

kellysue:

So a dude wrote a column. In it, he expressed his disappointment in our comic book and described his retailer tearing up a copy. (Please don’t go looking for the column; just take my word for it—dude gets paid every time you click and in an unbelievably classy move I should have seen coming, is…

Source: kellysue

THOUGHTS ON COMICS CONVENTIONS

jasonlatour:

Last weekend was Baltimore Comic Con, a show that was fairly pleasant by my standards and expectations of a comics convention. All in all it was a laid back, fun experience. A good time with friends and fellow creators and a good opportunity to talk to those of you who stopped by the table.

But towards the end of the show I had a couple of encounters that have got me thinking about what my expectations of a show are and how those have largely changed over the years. Granted I’m in a much better, slightly more privileged place these days, but it wasn’t so long ago that cons were a really torturous experience. I really do still understand what it feels like to attend a con hoping for a leg up, only to find yourself face down.

The conversations I had this weekend were with a few folks in that position. Some successful pros, others maybe not so fortunate yet. They inspired me to write down my thoughts on attending comics cons as a creator, which is something I’m really an old hand at. The philosophies I largely abide by are in a state of constant evolution. Honestly they’re the by product of far more error than trial.  But of late  they’ve really seemed to make attending conventions a much more rewarding experience and and have in no small way  been beneficial to the career I’m trying to build and art I’m trying to create.

So with that in mind here’s what this thing isn’t:


It’s not how to nail a portfolio review or get an editor’s email.

It’s not what magic pen to use in order to ink like Wally Wood.

It’s not how to get rich at a comics show.

 

If that’s the kind of stuff you want advice on there are plenty of better folks to get it from. What I have to say MIGHT lead you to people who do  know how to do all of the above and more. But I can’t promise you that. All I know is what has and hasn’t worked for me, and to some degree why. It should go without saying that ultimately it’s up to you to determine what that’s worth.

Still with me? Okay, don’t say I didn’t warn you…

Read More

Source: jasonlatour

I don’t know what to call this post.

I think a big problem that crops up in the race conversations that seem to be appearing pretty regularly right now in media is the idea that “racist” is a thing you personally are or aren’t. That any insinuation that you might’ve been confused or made a mistake or even been less than graceful in addressing a given topic (sometimes with the very best intentions) means you’re tarred forever as a cartoon bigot from the 60s. Racism isn’t a thing that ever goes away from the world. Ditto sexism, whateverism. There’s no permanent win where you just get to the finish line and are always right. We’re not all the same. We don’t all know everything. We all of us forever will say dumb shit, we all of us live in a world that changes constantly. You can say a racist/sexist/whatever thing. You will. If when it’s pointed out, you calm down and try to understand the other side of the conversation, instead of fighting for your life, maybe you learn and the world gets better for it. 

It’s not about you being wrong. It’s a conversation. I think what’s important is that you’re present for the range of perspectives. That you not dismiss what someone else feels or thinks, that you realize you’re fallible and so is the person you’re speaking to and no one expects otherwise. 

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