In town for the Toronto Comic Arts Festival, comics power couple Eddie Campbell and Audrey Niffenegger talk to Koom in this episode about their new collaboration, called Bizarre Romance. We also get some tidbits about Audrey’s work on the sequel to her novel The Time Traveler’s Wife, and Eddie talks about coloring From Hell and his recent book The Goat-Getters.
While Alan Moore and J.H. Williams’ Promethea, published from 1999 to 2005, is not one of Moore’s most remembered works, it’s not because the author wasn’t at the top of his game. Kumar and Emmet find it to be entrancing, even if you don’t buy into the various magical and spiritual elements that Moore built into it.
Also, inevitably, the incorporation of Promethea and other Moore creations into the DC Universe comes up; is it really just a business decision, or is the publisher singling out Moore’s work out of spite?
Reviews: Adventure Time BMO Bonanza #1, Crow Memento Mori #1, Cyberforce Vol 5 #1, Goosebumps: Download and Die! #1, Shadowman Vol 5 #1
Jon Hoche returns to the rotating co-host chair once again. Jimmy attending MoCCA Festival this weekend and talks about what he hopes to cover. News includes: The Fantastic Four are returning to Marvel Comics, Alan Moore and Kevin O’Neill are retiring after their next LOEG comic series, Z2 Comics is publishing a comic based on the Japanese band BabyMetal and more! Leave your iTunes comments! 5 stars and nothing but love! Also, get a hold of us!
Then, veteran comics artist Ron Randall on the right and wrong ways to use photo reference, his experience pencilling from an Alan Moore Swamp Thing script; his creator-owned project from the ‘80s, Trekker, and why he’s reviving it now; attending the nerd Mardi Gras; and why we’re living in a golden age of comics!
V for Vendetta, the classic story by Alan Moore that deals with anarchy and facism in a near future England. Topics include characters, setting, politics, and how it relates to our current political climate
Government has too many characters (15:07)
Moore wants the best of both worlds (17:08)
Random things that either didn’t make sense or were not followed up on (22:48)
Dedication to Country vs. Shared Idealism (1:27:54)
Can the anarchist philosophy lead to a self-governing society? (1:39:19)
If you would like to download the episode, right click and Save As
For the past several decades there have been a lot of comics, movies, and other fiction involving “bad futures”, with lots of poverty, violence, environmental destruction, and the like. Why has this genre been so appealing to so many?
In this episode, Emmet O’Cuana talks with Mark Hobby about why this genre endures and how Mark has approached it in his own comic, Job Dun: Fat Assassin. They also discuss why British writers have led the pack on bad future stories, how Watchmen and the X-Men fit into the discussion, why sex in media seems to upset some people more than violence, and more.
UK creator Bryan Talbot (The Adventures of Luther Arkwright, Heart of Empire, Grandville series) talks with Koom about co-founding the Lakes International Comic Art Festival, the difference between a “comicon” and a “festival”, working with Alan Moore on “Nightjar”, and much more.
At London Super Comicon last month, Koom got to sit down with Paul Gravett, a comics journalist and exhibition curator. Gravett is currently preparing the touring Asian comics show Mangasia, which will debut in Rome next month. This is a guy who’s read a lot of comics; do they all become a blur after a while? Koom asks him about avoiding burnout, the amount of progress comics have (or haven’t) made toward being accepted by the “art world”, and much more.
In the wake of the 2016 presidential election, with a result that many found unexpected and disturbing, Emmet and John discuss various comics that have commented on politics and on government gone bad, including V for Vendetta; X-men: God Loves, Man Kills; Ex Machina; Prez; Transmetropolitan; Nemesis the Warlock; American Flagg; Congressman John Lewis’ March; and more.
Join Kumar and Koom as they discuss Alan Moore’s run on the palladium paragon, the alabaster avenger, the archetypical archetype: Rob Liefeld’s Supreme. Kumar tries not to lose it over the Image era ‘artwork’ while Koom attempts to reconcile supremium with revisionist theory. Supreme was Moore’s last outing with a true blue superhero in the classical mould. Both postmodern and nostalgic for lost comic values at the same time, this run sits Janus-like between Moore’s early work and his modern period.
There’s no doubt that Superman is one of the most significant characters in the history of American comics. He ended up setting the template for what would be the dominant genre in American comics after the Comics Code came into effect. Of course, the types of stories told in those comics, and their tone, has varied wildly over the years, which makes it difficult to try to determine which stories are the best of the lot, but naturally people make the attempt, including DC Comics itself.
This week Kumar and Tim look at the 1980s collection “The Greatest Superman Stories Ever Told”, as well as Alan Moore’s “Whatever Happened To the Man of Tomorrow”, which is currently being published in a collection with two other Moore Superman stories. Are these actually the greatest Superman stories?
Featuring Batman’s superior party prep skills, swimming the interplanetary water spout, and the symbolism of the ads in the original printing of “Whatever Happened to the Man of Tomorrow”! *Choke*
Reviews: Atomic Robo And The Ring Of Fire #1, Head Lopper #1, Journey To Star Wars Force Awakens Shattered Empire #1, Tet #1, Tyson Hesses Diesel #1, Cooties
Emmy Potter returns after a long absence to co-host! She brings all of her Whovian love with her. They chat about Doctor Who, Kit Harington, and more. News includes: DC cancels several titles, Joe Kelly’s I Kill Giants will be a movie starring Zoe Saldana, Jessica Jones will debut on Netflix on November 20th, Rachel McAdams will star opposite Benedict Cumberbatch in upcoming Doctor Strange film, and New York Comic Con extends panels to Hammerstein Ballroom. Leave your iTunes comments! 5 stars and nothing but love! Also, get a hold of us!
Artist Stephen Bissette is best-known for his work on Swamp Thing in the ’80s with Alan Moore and John Totleben, as well as 1963 and his solo project Tyrant. Currently he’s teaching at the Center for Cartoon Studies, and this week he joins Tim and Kumar for a wide-ranging discussion, including:
The difference between comics schools in the ‘70s vs today
What it was like growing up as the first Fantastic Four and Spider-Man comics were hitting the stands and why he liked the new FF movie
Is the current state of Image Comics a new paradigm in creator rights, or is it more of the same?
Making things scary in comics vs. media that include movement and sound
His original plan for “Tyrant”, which ceased with the ‘90s comics industry implosion. Will we ever see more of Tyrant?