The Abyss's Bane

My contribution to the upcoming MUTATION 1.

Interview | The Hundreds

Zio from THE HUNDREDS interviewed me for the site. Check it out here.

Jack Kirby's CAPTAIN VICTORY AND THE GALACTIC RANGERS

Very excited to announce my involvement with the relaunch of Jack Kirby's CAPTAIN VICTORY AND THE GALACTIC RANGERS, which will be coming out this summer from Dynamite Entertainment. More info to come ...

Robocop Meets Showgirls

Above is my contribution to a Paul Verhoeven-inspired art show in Europe.

The Naked Heroes

I made this drawing for The Naked Heroes upcoming Iberian Tour in January. They're using it as their gig poster and as a t-shirt design.

The Marra Method: Traditional Comics Techniques for Visual Storytelling | 12. Use the 180-Degree Rule for Blocking a Scene

An on-going, evolving series collecting my thoughts on the craft of telling stories through comic books. These posts do not document rules; these are the ideas passing through my mind when I'm making comic books.

12. Use the 180-Degree Rule for Blocking a Scene

• If a character is on the left of another character at the beginning of a scene, they should remain be on the left of that character for the duration of the scene. 

• For the sake of clarity in organizing the blocking of a scene, the camera shouldn't exceed the 180-degree span between two characters. 

• The characters can move anywhere in a space, but they should always remain in the same relation to each other within the panel, to the left or right of one another.

• There are exceptions, for instance when a character jumps over another and changes the dynamic.

Review | BLADES & LAZERS | When Words Collide

Tim Callahan compares and contrasts BLADES & LAZERS with Justice League #24 in his column When Words Collide this week over at Comic Book Resources. Check it out here. I like this line from the column:

Both offer savagery from beyond the stars and plenty of posturing and threats of violence. They are so fully drenched in the glorious trash of their respective genres that they can be read as ironically detached or as thrillingly sincere. Or both. Or neither. Or maybe.