Lately, I haven’t gotten cover assignments often.
Don’t think i understand that yet, but its not a big deal.
But when i do get a chance to do one, i like to rock the ‘ose.
I’ve always been intrigued with Bloodshot from way back in the days when Valiant started just as i was moving in full sway with Milestone. When i got the chance to work with Warren Simons (editor in chief at Valiant) , we had been talking about doing some really great work concerning the new direction of the Valiant staple of characters. When he said he wanted me to come up with a great cover for Bloodshot…. I chomped at the bit happily.
Now understand, the cover art on this book is primo and with the likes of super detailed and hyper realistic techniques of Mico Suayan and Grandpa!, i needed to make sure i left my imprint.
Create some WOW factor.
I think i did it. And i had fun with it. 🙂
Don’t push me out to pasteur YET.
It was a bit arduous, but even when i was all over the place professionally, i still
found time to pencil and ink most of KATANA issue #9. The sole reason for taking the gig was Annie Nocenti. I’ve been in love with that woman’s talent since she started actively writing Daredevil back in the 90’s.
She put Daredevil and many other mainstream characters through their mental paces …. There was always some Hitcock-ian twist. Some crazy character. Some crazy storyline. And deep mentally penetrating dialog complete with its own event horizon.
I got to work with another childhood fantasy and it felt great.
By the way, her eyes are kinda wild, too. So guess i should be careful what i say or she’ll do to me what she did to her luau’d pig. 🙂
I plan on pitching her some stuff soon, but i really want to work with her again on … Well…ANYTHING!
In the meantime, the Katana deadline was hellish, and a bit stressful at times. This one wasn’t easy.
But i did it for Annie’s Katana. As i said…. The time only allotted enough time for me to pencil and ink a certain amount of pages. And i wish i had it like Jack kirby…. You know…
…8 pages a day…
But i recognize my limitations.
The preview showed up on ComicBook Resources. But instead of taking you there…
I’ll keep you here by posting the preview HERE!
And pick up the book this week!
ChrisCross will be at NYCOMICCON! I’m talking about me in third person again.
I will be there signing with the guys at Valiant Entertainment for my stint on BLOODSHOT 0 and most likely some future work that I’m partaking as I type this. There is much to talk about and a lot to catch up on and i will endeavor to keep up the pace in creating these posts.
If you’d like to catch me at the Con, the booth number for Valiant is Booth #2028 inside the Javitz Center in Midtown Manhattan – and they’re bringing along a boatload of exclusive giveaways, all-new convention-only items, and superstar talent to celebrate their biggest NYCC ever!!
Okay… So thats not my voice and i ripped that. But i could have said it….:)
My schedule for the Con are as follows:
Thursday October 10 7 pm
Friday October 11 12pm
Saturday October 12 1pm signing 4pm panel
Sunday October 13 11am signing
I hope to see you guys there because i will be making the rounds letting people know about my company website going live on SATURDAY. the company is named ETERNAL KICK and it will be out there for people to see FINALLY!
And guaranteed Archer will be poking me trying to annoy me.
Tah tah for for now, guys!!!
When Valiant announced that they were back in a position to be publishing books again, I think It took some people aback, those who were old enough to remember the first cache of the Valiant model… which was back in the 90’s.
Taken aback, but not in a bad way.
Back then, I was just getting out of School of Visual arts and I was working near full-time hours at a law firm in upper Manhattan. I decided that I was done with the 9-5 nonsense of the constant political pressures of the land of Esquire and I was going my own way. I had an appointment with the first echelon of Valiant that housed Bob Layton, Jim Shooter, and a ton of then-beginners who are now either high rollers (meaning doing work with animation or movies for “Hollywood”), Marvel/DC veterans, or doing their own thing. Then I discovered Milestone Media. In some weird turn in time, I could have easily been working with the Shooter gang instead of Club McDuffie.
Hey, it’s nice to have had options!
One of my great regrets though was never getting a chance to jump on any of those books. I kind of see the new Valiant as the Golden State Warriors. The new guys with a lot to prove going up against two big franchises like the Lakers and the Celtics and some really notable teams that make a ton of noise jostling for the third spot. I’ve had many discussions about Valiant’s new splash on the scene and myself and others really think they’re going to be surprising a lot of people soon enough when they’re the set party for that third spot. They just seem to have their stuff together, and they appear to know what they want and what it’s going to take to get there. And they have a possibility to bring in new readers. There’s a newness with all the characters and I think that’s what is needed to rejuvenate the comics market. Hopefully it will inspire others to put their two cents in to start a new renaissance.
The cool thing is I now have an opportunity to put my two cents in with Bloodshot #0.
I want to take my time with this one and really make it stand out from any other work that I’ve done before. It’s going to be the road to some great work that I’m planning that’s going to set new roads for me. And sometimes I just get tired of my own work, so I have to add new influences to freshen me and my muse up again. And I’ve been hustling to get better for awhile now. So I hope you like what I offer in my splash on Bloodshot. I’ll post that cover as soon as I get the go.
You can check out the link on my mention here and get warmed up for an origin of Bloodshot you may not have read before.
I team up with Matt Kindt whose bringing his own style of storytelling to the mix.
Hope you like what we put together soon!
In the newest issue of Superboy,(#20), I got to help out the editor by doing the last five pages. It was again as crazy a schedule as one could have and I had to throw in 1/4 ChrisCross, and 3/4 rush job. But I never got to draw Superboy in any version in my life…. So you know when asked, I had to jump on it. And also you can see I aided and abetted Superboy’s BEATDOWN.
Hey, He wins in the end.
Don’t worry. 🙂
To say that doing this issue was a cakewalk would be the lie of the century considering the time allotted to complete it. With Hurricane Sandy, that hybrid storm had pretty much shut everyone down. I was coming home from a much needed vacation and the lights and power had just come on as I literally walked in the door of my apartment.
Poor Peter Tomasi hadn’t had any power until a couple of days later.
And time was dwindling in which to make the deadline that was set to get this annual out.
But when the script started to file in, it was all about getting the talented Scott Hanna and Marlo Alquiza to get the inking done… And they did great work considering the time we had to get it done. I’m pretty sure that Wil Moss, the editor, has had an excuse to use Just For Men after that process. Me, I just shaved my head bald. :)Peter Tomasi, I feel, is doing something with GLC that separates this book from the other Green Lantern books. It’s oviphagy translate as space opera. It’s cinematic and prolific. It’s a movie in every book. And it shows in the current work that artist Fernando Basarin accomplishes in every page.
So I had to step up my game a bit. But there’s only so much one can do when time is limited. (Mind you,this is me never being satisfied. 🙂 )
With the inkers doing their thing, the glue that made this book really pull was Wil Quintana. His pastel hued palette reminds me of watching the really cool anime of the past. Like watching Mighty Orbots. And it would work like gangbusters over the work I was producing on this book.
I’m still apologizing to him for the extra double-splash page I did on top of the myriad of other double-splashes in this book. He had to color both and then sandwich them together.
There were a ton of double-splash sequences in this book that I’m about to post with this entry and I just thought it would be great for you guys to look at the work unencumbered by lettering, so you can get the idea of the breadth of work that went into getting the book done.
I hope you enjoyed it as much as we did doing it. Even if Peter Tomasi is a madman. And Fernando. 🙂
Buzz Comics, a popular Francophile forum and website for geeks everywhere has just posted the preview for TheGreen Lantern Corps Annual that was hard to do but fun to read.
It was great doing the type of interview that i did with Eric Esquivel technique-wise. And he’s a spirited lad. 😀 You can tell in the questions he asks. He likes to stir that pot. I’m good with that.
No beating around the bush, no sidestepping, no half-stepping either.
If i could only do more interviews where i’m getting the questions by email that allows me to continue to answer as if we’re actually talking back and forth like this one….. instead of the same “here’s my question, fill in the blank” response, my interviews would be more organic.
One thing is for sure, after the interview, it got me thinking about where Milestone Media would be if it was allowed to fully realize it’s dreams. What kind of company would it be if it were to break away from DC to become it’s own entity? Would it be the next Dark Horse? Image? Would it be connected to movie houses and production companies? How would the characters be regarded? How would the populace respond to an exclusively independent African American owned company? How would the owners have evolved? Dwayne McDuffie, Derek Dingle, Denys Cowan, and Michael Davis (my apologies for almost forgetting to type you here, Mike)… What kind of leaders would they be if the roof off of Milestone had just exploded and the world of transmedia were at their fingertips?
IT was a great ride when it was forefront in the comic world’s eye. And they changed the industry. I can only hope that when it’s my time to shine, i’m able to carve my part in this slab.
That being said, Eric posed some focused views on questioning culture in comics and if what was being done was enough.
Read what i said.
Even the goofy parts. 😀
Oh yeah. i just caught a wave. I really miss Dwayne.
This is probably the second podcast i’ve been interviewed on about me and my work through the years. My boy, Vito, is more the expert in doing the podcast thing. I need to get into it more. I really decided that in the last couple of weeks that people really need to see me. Me. DIVA-CROSS.
Peter Palmiotti does a podcast called INDEPENDENT ROAD. He’s a freelancer himself so he understands the rigamarole. What’s funny is that Art Thibert…. T-Bear for those still calling him THIGHBERT… is just having this quiet conversation with Peter and then here i come..
“HELLO? HUH-HELLO? IS ANYONE THERE?!!”
ALL loud and ghetto… 😀
But it’s funny and had me laughing like this bumbling dude that just burst in the door like Kramer in Seinfeld.
The only thing i didn’t ask was “who saw that turnip slide into the elevator??” and spaz so much my afro… if i had one… would shake like a fern tree in an earthquake.
So, Art (Thibert) was great and so was Peter.. the next Charle Rose…
and i got to finally talk to a great inker like Art , whose work i’ve collected way before i got into comics.
So listen in, and enjoy.
i called T-Bear STINKY. heheh…..
T-Bear cuz its not ThighBert.
I said that already.