Being an internet refuge for Graeme McMillan
I can announce to you right here that Miles Morales: ultimate spider–man number 1 will feature the long overdue debut of an ultimate version of the 1960s Spiderman animated show villain.
and that’s not even the thing that everyone’s going to be talking about
“Any plans for an original villain for Miles?” “I can tell you that I’ll be debuting the Ultimate version of an existing character!”
So… that’s a no, I take it.
When we started talking about Zero early last year, our original vision was to eschew artwork, and create covers that are purely image and typography led and in the process create something that truly stands out on the shelves. With the first issue set in the Gaza Strip, I researched satellite and drone cam footage of the area and used that the visual language to create that first cover — however, when we started to review things, we opted to incorporate artwork, primarily because we didn’t want to pull the book so far away that a potential audience would be alienated by it (we’re after all making a commercial product). So we developed a system where each artist (including guest cover artists) gives me a black and white illustration that I then integrate in the cover design; rather the opposite of what you’d call the traditional cover design route where whoever designs or artworks the cover only has space to drop in a logo each and every issue.
I felt strongly that each issue should be designed from the ground up, to accurately reflect the individuality of each issue. Even though the use of typefaces and the basic logo are consistent, they are treated and manipulated differently so the difference in each becomes the element that holds everything together. The other, important element is that I want to create an end-to-end design experience: from the moment you look at the cover, read the story and close the comic, the design runs through it and forms a part of the story, never taking you out of the book — I think that this really reinforces the story and reading experience.
I really, really enjoy Zero, Ales Kot’s spy comic from Image – I think I’ve said elsewhere, but it’s the comic that gives me the closest thing to an Invisibles-style charge since that comic finished. It’s also one of the most fascinating comics around from a visual standpoint these days, in large part because of Tom Muller’s input as designer. The above is a quote from him, as part of an interview with Kot about the first collection’s release.
If you dig comics and you’ve not sampled Zero, you should check out that first collection – it’s cheap and worth it.
Wait, What? Ep. 145: Doublespeak. | Savage Critics
It’s funny because it’s true. Hey there, everyone! You miss us? Well, good news, we’re back–all three of us (Graeme, me, and my terrifying vocal echo that haunts much of this podcast).
Some weird audio issues, but hey! At least it recorded, unlike the last time we tried a podcast! We’re back, ladies and gentlemen.
How House of Cards Handled Rape Better Than Downton Abbey
Where the British series fails, House of Cards flourishes
In which I end up comparing PBS’ big hit with Netflix’s political drama in a way that I couldn’t have predicted. And also introduce “fridging” as a concept to Time.com readers.
CBR: Also this week, it was announced that Marvel will be releasing an original graphic novel based on the ABC show “Revenge,” which follows the earlier “Castle” and “Once Upon a Time” OGNs – what makes “Revenge” a good fit for Marvel?
Alonso: Emily Thorne, in essence, is a real life super hero. Her mission was sparked by a tragic past and she even dons an all-black costume to perform her takedowns. Such a strong and bold character merges perfectly with the world of our ABC/Marvel OGNs, and underscores our commitment to creating new comic book fans. We are beyond excited to be part of reaching “Revenge” fans with an in-continuity tale about this amazing heroine.