THE TOP 10 MOVIES OF 2012 (maybe)

according to me, please play along with your own


there’s stuff i didn’t get to see yet that might’ve made the list, like ZERO DARK THIRTY

6talkies, large,

corporate vs indie take 300,137

When people complain about the sales of indie comics at comic shops it’s like you spent your life at the local McDonalds and then decided you really like their salad and are super frustrated that it doesn’t sell better. These stores, by and large and the majority of people who’ve gone to them for all of my life and probably all of yours, are there for superhero comics (with some exceptions). The content created outside of those parameters doesn’t sell as well to those people because THAT ISN’T WHAT THEY’RE THERE FOR. They went to a burger place. They don’t want your salad.

When I was a teenager, at some point I was less interested in the band that played the local Arena and started paying attention to smaller, local bands. Bands that would surprise me. They didn’t carry those things at the music chain at the mall. Shaking my fist at them again and again over 100 years wasn’t going to change that.

Those bands had to do more work to get onto your radar. They had to tour. They had to do the rounds.

And hey, you know what? So do you.

6large, random,


Gotten a lot of lovely notes from people about the storm that hit the NY area a couple days ago. For anyone who’s curious: we came through ok. Power went out pretty early into the storm and we’re still unfortunately in the dark, but our neighborhood got off really easy relative to all the other areas near the Hudson river which have seen some really shocking damage.

If you’d like to help: Text REDCROSS to 90999 to give $10 to American Red Cross Disaster Relief.

Or if you’re generous enough to make a larger donation, please click HERE to help out.

My best to everyone.

6large, random,

NYCC 2012

Next week is our hometown show, NYCC and it’ll be the first official presentation-spot for OFFSET COMICS. We’re set up at Booth N2, with Cliff Chiang, Andy MacDonald, Eduardo Risso, Leandro Fernandez and special guests galore.

You can map out our location here

And we’ll have some content that I hope you’ll love including some limited edition screen prints and a brand new DEATHFACE t-shirt.

And appearances from OFFSET super-talent like Chuck BB and Daniel Krall. Maybe if you ask nice they’ll doodle something for you.

6large, appearances,

Batman-ish: What Comic-Book Movies are Missing

I wrote this piece for The Awl about comic book movies.


6talkies, large,

The inside of my head is terrible

I’m in Brazil, at a combination kebab/autobody shop. At the recommendation of Rafael Grampá, I order the shrimp with the green sauce. The guy calls out the price, over 40 bucks. When the other guy hears my accent, he looks at his watch, mutters something about the time of day and tries to add a couple bucks. I give him a speech about the value of a man’s word.

The moral here, more than the fact that my dreams are ridiculous, is that even my subconscious is insufferable.

6large, random,

the value of your name

COMICS: I know a lot of you have accepted B rates and C rates for works these days as money gets tight everywhere, you’ve taken less money for the same or even more work. What I’ve also seen, though, is this: a professional says: you’re paying X percent of my rate, you’ll get X percent of my performance.


Where you measure the value of your time, you should be measuring the value of your NAME. Because the reader doesn’t know what you got paid or if you did, or anything at all but whether or not they liked what they saw. Because THEY didn’t pay less. The book doesn’t come with a sticker asking the reader to excuse the limitations of budget. The reader paid the same amount, most likely… for the costliest production or for one that was done for free. And when they put it down they’re hopefully going to remember your name and remember it well. You either gave THEM their money’s worth or you didn’t.

We’re all only as good as our word. When you agree to do something, for 5 cents or a million dollars, you should agree to do it well or you’re not helping anyone out, least of all your own name.

6comicsmarket, large,


Since the c2e2 site seems to be missing the info, here’s the new shirt i’ve produced for this year’s CHICAGO COMIC AND ENTERTAINMENT EXPO. It’s printed in most sizes at a limited run, on an American Apparel quality shirt.

I’ll be at the show this Friday-Sunday April 13-15th at Artist Alley table B10-11 with Cliff Chiang. Hope to see you there.

6upcoming, large, travel,

Marvel & DC are not the medium of comics (you are)

So: I get emails almost every day now from friends that are struggling, established professionals short on work or younger guys trying to squeeze their foot in. It’s a really hard time to get work at Marvel and DC for people who aren’t already tethered there. The model has shifted and times are tough all over and I think most of my friends at either company would agree. But as hard as that might be on some, in the moment: I think there’s a silver lining in that distress. Because the reality is, and no offense to either company, but job security at marvel and DC is false security and it always was. They don’t dictate your success. It’s a fun job, it can be a great way to pay your rent but it isn’t a likely path to a reasonable retirement.

These lean times hammer home that We need a better plan than crossing fingers and waiting for the editor to call.

The good news is: there are a lot more options than we thought there were. The world is so much bigger now than the Diamond market bubble we grew up in.

You want some examples?

This guy went out looking for 3 grand of support for his comic and the world gave him 30 thousand dollars.

Or howbout WOMANTHOLOGY? they had a higher asking price at 25 grand and ended up at more than FOUR TIMES THAT.

Or here’s a pie in the sky: last week Rich Burlew made ONE POINT TWO FIVE MILLION DOLLARS raising money for a comic most of my friends have probably never heard of.

These aren’t solutions. I’m not saying you all need to go out and create something new, or that you need to crowdsource your work or that there’s any one answer to a pot of gold. Maybe “gold” isn’t even what you’re after. There are a lot of ways to go and I’m of the mind that the best options are always ahead, that precedent is the safest route to follow but who wouldn’t rather be an Astronaut?

I’m saying that maybe the world has given you a shot at making a hard decision that’ll ultimately improve your odds of not becoming another cautionary tale of the old comic guy abandoned by the world he helped to build. We don’t have to live in that world anymore.

I’m not saying you shouldn’t work at Marvel and DC. But you should work there because you want to. Not because you HAVE to.

6comicsmarket, large,

this is what happens when you type “is” into google

Dear Comics, (UPDATED)

Some thoughts I had yesterday, summarized here since twitter’s not really the best venue for a longer contextual conversation:

And then after all of that a less polite point, but I’m going to post it anyway because I think it speaks to the idea of passing blame to theoretical villains vs taking responsibility:

6comicsmarket, large,

THE TOP 10 MOVIES OF 2011, according to me

I have finally on my deathbed compiled my year’s list. Here are the movies I saw and liked in the year of our lord 2011:

1: The Tree of Life
2: Melancholia
3: Drive
4: La Piel que Habito (The Skin I Live In)
5: 13 Assassins
6: The Trip
7: Moneyball
8: Tryannosaur
9: Hugo
10: Margin call

Runner up: Rampart

Movies I didn’t see that might conceivably have made the list:

Tinker, Tailor, Soldier, Spy

EDIT TO ADD: Martha Marcy May Marlene would’ve made my top 10 list had I seen it before I made the list. Top 5, even.

6talkies, large,

C2E2, Chicago, IL USA



I think there’s a problem of context with a lot of the conversations about pricing of comics. People can agree, maybe, that $4 is enough to repel a casual consumer, but that doesn’t mean that $3 will attract them. It’s not a magic switch that reverses polarity.

All you’ve done, hopefully… is made a tenable entrance point. So that if (and that’s a REALLY big if) you are successful in engaging curiosity for the story(s) you’re trying to tell, you don’t scare your audience away at the door.

You’re removing a barrier. That’s not the same as building a bridge.

We need to focus on the bridge.