Neil Kleid first came to my attention as the writer/artist of the Xeric-winning “Ninety Candles,” an innovative graphic novel in which each panel represented a year.   Here’s what I wrote about the book in early 2005, naming Ninety Candles one of the best graphic novels of the year:

Neil Kleid’s experimental “Ninety Candles” follows the life of cartoonist Kevin Hall, with one panel representing each year of Hall’s life. The book was done improvisationally, with no pre-existing script — each day represented in the book was created in a day.

Kleid has since created the Jewish gangster story “Brownsville,” coming to the iPhone via Panelfly, and one of the best graphic novels of 2009, “The Big Kahn.”   The following is a Q&A with Kleid about those projects.

Matt Price:  Tell me about the process of taking Brownsville to the iPhone. Was reformatting involved? Did you have involvement in the process?

Neil Kleid: Not really — basically, NBM Publishing handed off the files to the boys and girls at Panelfly and they went to town, making the classic mob drama available for your handheld electronical telephonic listening devices. Jake and I? We just watched with awe.

The process is definitely exciting. Each and every day another smart phone comes to market—be it iPhone, Pre, Droid or Blackberry—and the comic book industry is matching them stride for stride. The only thing, as a cartoonist or graphic novelist you really need to do is change your point of view, understand that this is the limitless new horizon and get on board.

MP:  What do you think makes a comic or graphic novel a good candidate for the iPhone?

NK: There are definitely certain comics/GNS more suited to a smart phone viewer than others. For instance, as a creator who has seen his work shrunk from standard 6×9 pages to digest I’ve noticed the benefits of having pages with fewer panels, lighter dialogue, stronger art. Taking a nine-panel Giffen grid down to an iPhone may not work as well as a four-panel manga (that is, unless you display the story panel by panel…!). Brighter art, easy to read panels, clear transitions —these are all elements needed for optimum smart phone reading.

That being said, I’m the dude that packs 6 panels on a page so maybe my book isn’t the optimum candidate, either. Looks pretty in yer hand-phone, though.

MP: Tell me about the series, for those who might be unfamiliar.

NK: BROWNSVILLE is the story of Murder Incorporated, the Jewish hit operation working out of East New York, under the thumb of Jewish gangster Louis Lepke Buchalter in the ‘20s and ‘30s. It’s a true story, following the intertwined lives of Allie “Tick Tock” Tannenbaum and Abe “Kid Twist” Reles as they immerse themselves in the gang-infested streets of Brooklyn and Lower Manhattan, work their way to the top and then rat everyone out. If you’re a sucker for a good mob movie, and you’d like to expand your Mafia horizons beyond Michael Corleone, “Goodfellas”, Lucky Luciano and the SOPRANOS, this is the book for you.

MP:  Can you tell me about your artist on Brownsville?

NK: Jake Allen is a prince among men—that is, if those men are all poor, underappreciated inkslingers devoted to the sequential arts and a slave to detail. The man’s work is so refined that he draws every building’s brick, every herringbone in your suit, every shadow, nook, cranny and dramatic detail in a story that asks a great deal from a first time graphic illustrator. And Jake? He delivers.

MP:  Of course, this year, your critically acclaimed The Big Kahn graphic novel hit the shelves.  Could you describe that for me?

NK: THE BIG KAHN is my second book for NBM Publishing, moving my Judeocentric writing arena to present day New Jersey, and in particular to the funeral of Rabi David Kahn, noted scholar, loving husband and father, pulpit Rabbi to a congregation for forty years. The only problem? Rabbi Kahn was never Jewish, rather an Irish con man who fell into a new life after falling in love, according to the “Rabbi’s” long-estranged, newly arrived brother Roy. The book explores the aftermath of the revelation, focusing in on the late Rabbi’s wife and children who are forced to examine their lives in the wake of the bombshell. It asks questions of faith, religion, legacy and lies, shining its light on a family secret so well-hidden even the family didn’t know about it until it was too late.

Inspired by the HBO series SIX FEET UNDER and sources like the novel “Matchstick Men” and THE STING, made relatable by the Bernie Madoff scandal and elements of AMC’s MAD MEN, this book is a must-have for anyone interested in the societal implications of a world where everyone lies. Everyone. Even we.

MP:  And tell me about the artist on The Big Kahn.

NK: The artist on KAHN is my pal Nicolas Cinquegrani, a talented Chilean illustration who came to my attention via the interweb and the pretty pictures he posts there that friends showed to me one night. I was blown away by Nico’s delicate yet grounded imagery, the subtle, stark appeal to his characters and the possibilities of that art applied to my stark tale of human failings. I don’t regret emailing him one bit. Not one bit.

MP: The Big Kahn touches on the themes of identity and reinvention.  What appeals to you about these themes?

NK: Who doesn’t know what it’s like to fight for a second chance? You say things, do things that mark you in a certain way and have to struggle to toss of the invisible brand. Classic journey of self-discovery and renewal for a character to go through, yes? They say better writers drop their character in unfamiliar territories, forcing them to find their way back, fight their way through to retribution. What better road for a Rabbi to walk than one paved with doubts, failings and accusations based on the sins of his father, sins that if never undertaken might have meant an entirely different life for his sons and daughter?

As it happens, during the time I was writing BIG KAHN I was going through a bit of an identity crisis myself. I’d moved to New York from Detroit, having left the isolated womb of my family home and the Jewish community surrounding it. Here I was, outside the ghetto and in the World, where anything could happen and I could be whoever I wanted. Unfortunately, several circumstances and scenarios brought me through trials of my own —professional, creative, financial, romantic — and the only comfort and grounding I could find was back in the ghetto, the protective womb of the Jewish community I was fighting to escape. I wanted to find out who I was — as a Jew, as an artist, as a writer, as a son, friend, brother, boyfriend, son of G-d — and this introspection and the questions that arose found their way into THE BIG KAHN,

MP: What other projects do you have in the works?

NK: Currently I’m in a gestating year, working on projects that won’t see the light of day for a while. Writing this, writing that and hoping it sticks somewhere… but the nice bit of news for 2010 is that I’m devoting myself back to my roots, the pencil, pen and ink I abandoned to script and plot.

This year, I’ll dive back into cartooning as I knock out a 4-page story for an unannounced Big Time anthology and then I’ll hunker down to work on my second drawn graphic novel (the first being 2003’s Xeric-award winning NINETY CANDLES) for a Big Time publisher. In and around those two projects, POP will finally see the light of day —it’s a five issue miniseries about tabloid Hollywood, celebutantes, publicists and the most evil woman in the world. I co-wrote it with Dan Taylor, it’s illustrated by Chris Moreno and it’s coming out from IDW Publishing in some form this year. I’m also toying with prose again, writing my second novel as I prepare to unleash my first, COFFIN, to the masses via print on demand delivery. So here’s hoping THAT doesn’t blow up in my face.

And, as always, working working working. Goonies never say die.

Award-winning graphic novelist Neil Kleid is taking his Jewish gangster graphic novel, “Brownsville,” to the iPhone.

“The process is definitely exciting,” Kleid said in a recent interview. “Each and every day another smart phone comes to market — be it iPhone, Pre, Droid or Blackberry — and the comic book industry is matching them stride for stride. The only thing, as a cartoonist or graphic novelist you really need to do is change your point of view, understand that this is the limitless new horizon and get on board.”

“Brownsville,” from publisher NBM, is the story of Murder, Incorporated, the Jewish hit operation of the 1920s and ’30s.

“It’s a true story, following the intertwined lives of Allie “Tick Tock” Tannenbaum and Abe “Kid Twist” Reles as they immerse themselves in the gang-infested streets of Brooklyn and Lower Manhattan, work their way to the top and then rat everyone out,” Kleid said. “If you’re a sucker for a good mob movie, and you’d like to expand your Mafia horizons beyond Michael Corleone, ‘Goodfellas,’ Lucky Luciano and ‘The Sopranos,’ this is the book for you.”

Jake Allen is the artist for “Brownsville.” The graphic novel can be downloaded via the iPhone app Panelfly, found online at www.panelfly.com.

Kleid’s second book for NBM is “The Big Kahn,” set in modern-day New Jersey, as, at the funeral of esteemed Rabbi David Kahn, his family discovers he was never Jewish, but an Irish con man.

“The book explores the aftermath of the revelation, focusing in on the late Rabbi’s wife and children who are forced to examine their lives in the wake of the bombshell,” Kleid said. “It asks questions of faith, religion, legacy and lies, shining its light on a family secret so well-hidden even the family didn’t know about it until it was too late.”

The artist of “The Big Kahn” is Nicolas Cinquegrani, a Chilean artist who Kleid found via the Internet.

“I was blown away by Nico’s delicate yet grounded imagery, the subtle, stark appeal to his characters and the possibilities of that art applied to my stark tale of human failings,” Kleid said. “I don’t regret e-mailing him one bit. Not one bit.”

Referencing the Bernie Madoff scandal, Kleid said “The Big Kahn” should be of interest to those interested in the societal implications of a world where everyone lies.

The theme of fighting for a second chance had parallels in Kleid’s own life, as while he was writing the book, he faced his own identity crisis.

“I’d moved to New York from Detroit, having left the isolated womb of my family home and the Jewish community surrounding it,” Kleid said. “Here I was, outside the ghetto and in the World, where anything could happen and I could be whoever I wanted. Unfortunately, several circumstances and scenarios brought me through trials of my own — professional, creative, financial, romantic — and the only comfort and grounding I could find was back in the ghetto, the protective womb of the Jewish community I was fighting to escape.

“I wanted to find out who I was — as a Jew, as an artist, as a writer, as a son, friend, brother, boyfriend, son of G-d — and this introspection and the questions that arose found their way into ‘The Big Kahn.’”

By Matthew Price
From Friday’s The Oklahoman

Today’s graphic novel recommendation: Grandville. It’s like Sherlock Holmes meets James Bond by way of Quentin Tarantino, starring anthropomorphic animals in an alternate Napoleonic Europe.

It’s by Bryan Talbot, who most recently wowed everybody with “Alice in Sunderland” and is the creator of “The Tale of One Bad Rat” and “Tales of Luther Arkwright.”

Grandville stars Detective Inspector LeBrock, a badger with a keen eye for detail who’s handy with both guns and fists.   This Scotland Yard inspector lives in a Britain that’s become a footnote, connected to France by railway, where Paris is the center of the steampunk European world.

A murder puts LeBrock and his assistant on the trail of a giant conspiracy that could affect the entire Napoleonic Empire.

This book works on a number of levels, with interesting allusions to children’s literature and current events, and is beautifully drawn besides.   Talbot’s storytelling remains top-notch.

Talbot is already at work on a sequel, Grandville Mon Amour, which is set for a 2010 release, according to fan site bryan-talbot.com.

- Matt Price

Check out the trailer to Whiteout, directed by Dominic Sena and set for release on Sept. 11, 2009. The film stars Kate Beckinsale and is based on the Greg Rucka-Steve Lieber graphic novel from Oni Press.

Del Rey Books has announced it will publish “Pride and Prejudice and Zombies: The Graphic Novel.”  It will be based on the New York Times bestselling book by Jane Austen and Seth Grahame-Smith.

The book takes Jane Austen’s classic novel and adds “zombie mayhem.”

“Not only is it exciting for Del Rey to be a part of this year’s most remarkable publishing phenomenon, ‘Pride and Prejudice and Zombies: The Graphic Novel’ is just flat-out one of the coolest books on our list ever,” said Del Rey editor Tricia Narwani.

The graphic novel will be adapted by Tony Lee, recent writer of “Doctor Who” comics, and Cliff Richards, artist of “Buffy the Vampire Slayer” comics.

“Pride and Prejudice and Zombies: The Graphic Novel”  is scheduled for January release.

- Matt Price

Publisher Archaia will bring four original graphic novels to Amazon’s Kindle platform over the next 12 months, the publisher announced.  These graphic novels will also be available for the Kindle iPhone and iPod Touch apps.

“Elk’s Run” creators Joshua Hale Fialkov and Noel Tuazon will kick off the program with “Tumor.”

Tumor is a Los Angeles noir about a private investigator with a terminal brain tumor trying to close one last case before the cancer kills him. It will be released as eight individual chapters over the next six months that will then be collected into a hardcover edition.

The first chapter of Tumor is available now on the Kindle for free, with subsequent chapters priced at 99 cents.   Writer Fialkov is pleased to bring his story to this new format.

“I’ve loved my Kindle from Day One, and as soon as I saw it, I knew I wanted Tumor to be available for the platform,” said Fialkov in a release. “Archaia understood that the Kindle is a unique opportunity to get their comics out there and into the hands of a whole new fanbase who are avid book readers, but may have not read a graphic novel in years.”

You can check out Tumor for the Kindle here: http://tinyurl.com/mvx84k.

Chapter Two will be released during the week of August 3rd, and each subsequent chapter will be released every three weeks.   More information about Tumor is available at www.tumorthecomic.com.

Also coming up for the Kindle is Mr. Murder is Dead, co-published by Before the Door Pictures, which is Zachary Quinto’s publishing company.  Mr. Murder is dead is a black and white original graphic novel written by Victor Quinaz.

- Matt Price

A display of some of the coming titles from Dark Horse Comics

Archive editions of classic Archie comic books and a Conan one-shot by Darick Robertson show the variety of projects announced by Dark Horse at Comic-Con International in San Diego.   Here’s a list from the eclectic publisher of upcoming products:

365 Samurai and a Few Bowls of Rice – Swiss artist J. P. Kalonji’s graphic novel comes to America. A young swordfighter must kill 365 samurai on a quest to avenge his master-in a fun, humorous, cartoony style.

Age of Reptiles – Film designer Ricardo Delgado returns with the third installment of his epic (silent) dinosaur comics series. Carnivores hunt herbivores on a migration south.

Aliens vs. Predator: Three World War – The 2009 relaunch of the Aliens and Predator series comes together with a creative team of John Arcudi and Rick Leonardi.

Archie Archives – The classic Archie comic books get the deluxe treatment in a series of hardcovers as the newest editions to the Dark Horse Archives series.

Blacksad – Collecting all three of the international award-winning European volumes, the third of which has not been published in English before. This crime noir about a cat detective, PI John Blacksad, is a phenomenal anthropomorphic story with fully painted artwork. By Juan Díaz Canales and Juanjo Guarnido.

Casper Anniversary Special – A 64-page hardcover celebrating Casper’s sixtieth anniversary and featuring his first appearance in comics.

Conan: The Weight of the Crown – Darick Robertson writes and draws our first Conan one-shot since the

Darick Robertson sketches for a fan.

Conan the Cimmerian relaunch. This comic is part of Dark Horse’s all-new One-Shot Wonders program.

Dark Horse GelaSkins – Decorative coverings for phones and laptops featuring some of Dark Horse’s most popular properties, including The Umbrella Academy, Yoshitaka Amano, Tim Burton, Buffy the Vampire Slayer, Hellboy, and many more. A select few will be available at the Dark Horse booth during the convention as supplies last. The whole program is set to launch in September 2009.

Devil – Devil is an original Japanese manga being created for Dark Horse by Torajiro Kishi and animation powerhouse Madhouse Studios, featuring genetically designed vampires in a sci-fi police drama set in Tokyo.

Electropolis – Electropolis: The Infernal Machine is the perfect companion to Mister X: Condemned. Visionary artist Dean Motter revisits his unique brand of “antique futurism” in a story full of familiar faces, including a memorable cameo by Mister X himself.

Final Fantasy Boxed Set – A luxurious edition that stays true to the original Japanese collection of the complete Final Fantasy artwork by Yoshitaka Amano.

Furry Water and Mesmo Delivery – Eisner winner Rafael Grampá comes to Dark Horse with two books: Mesmo Delivery, a reprint of his psychedelic small-press debut; and Furry Water, cowritten with Daniel Pellizzari, a six-issue postapocalyptic action comic.

One-Shot Wonders – A new program running from October to December, highlighting some of Dark Horse’s biggest characters and properties in standalone comics retailing at $3.50 each. The program includes “Sugarshock,” Conan, Hellboy, Abe Sapien, Star Wars (two titles), “Dr. Horrible,” and The Goon.

The Art of Blade of the Immortal – Hardcover edition of the original Japanese book with 32 new bonus pages not previously available. This book will be in the style of the Dark Horse The Art of . . . and Library Edition series.

You could do a lot worse than to get to the comic book store today, where three pretty brilliant comics are getting repackaged in new formats.

First, Starman Omnibus vol. 3 continues the collection of James Robinson’s “Starman” series, about reluctant hero Jack Knight.  Starman is often, and correctly, thrown around in “Best of the 1990s” discussions.

While you probably know about Ed Brubaker’s “Captain America” 600, hitting shops today (if they didn’t opt to get them Monday), you may not realize that the latest issue of his “Incognito” series and the re-collection of his “Sleeper” stories are released today, too.  “Sleeper” is a terribly under-rated series from WildStorm that was basically a spy series with superhero trappings. If you’re enjoying “Cap,” but could handle something aimed at a slightly more mature audience, give “Sleeper” a look.

And finally, “Nexus: As it Happened” is a black-and-white, affordable reprint of the early issues of Steve Rude and Mike Baron’s “Nexus.”  One of the best series of the 1980s and a multiple Eisner Award winner. Nexus, a man in the year 2814, is plagued by nightmares of mass-murderers. Given powers by a mysterious force, he is compelled to find these killers and execute them.  “Nexus: As It Happened” Vol. 1 reprints seven issues of “Nexus”: Vol. 1, 1-3, and Vol. 2, 1-4.

Also out this week, a new printing of Garth Ennis’ acclaimed “Hitman” series, and the latest issue of “Supergirl” by Tulsa native Sterling Gates.   From Image, “Invincible” #63 hits stands, as does a new “Dead@17″ by Josh Howard.  The collection of Mike Oeming’s “Mice Templar” is released, as well.

In addition to “Captain America,” Marvel zeroes in on the Cajun mutant Gambit with “X-Men Origins: Gambit.”  You can find the full list of this week’s releases here.

- Matt Price

Another big announcement from Boom! today is the original graphic novel that ties into “Jennifer’s Body,” the Megan Fox-starring movie written by Diablo Cody (”Juno”).

It’s a pretty excellent creative team, with writer Rick Spears (”Teenagers from Mars”) and artists Jim Mahfood, Ming Doyle, Nikki Cooke and Tim Seeley.

“Jennifer’s Body” stars Megan Fox as a demonically-possessed cheerleader with a taste for killing teenage boys. The original graphic novel will expand on the universe of the movie.   See the full release after the break.

Writer(s): Rick Spears
Artist(s): Jim Mahfood, Ming Doyle, Nikki Cook, Tim Seeley
The movie event of the Fall is the comic book event of this Summer! JUNO’s award-winning screenwriter Diablo Cody brings you JENNIFER’S BODY starring Megan Fox as a demonically-possessed cheerleader with a taste for killing teenage boys! In this original graphic novel that ties into the movie and expands on its universe, BLACK METAL’s Rick Spears brings you even more hellish Jennifer stories with art by HACK/SLASH’s Tim Seeley, KICK DRUM COMIX’ Jim Mahfood, DMZ’s Nikki Cook, and POPGUN’s Ming Doyle
Diamond Code: JUN090770

From the New York Times: Janet Evanovich, top-selling writer, is creating a graphic novel for Dark Horse, based Evanovich’s “Metro Girl” and “Motor Mouth” books.

The books are set in the world of NASCAR. Evanovich previously mentioned being a fan of comic books; glad to see her coming around to writing one.

This is a coup for Dark Horse, who has long been a top producer of indy and licensed comics. This marks the best-known author, I believe, to write a Dark Horse graphic novel.  It’s also a great outreach to female comic-book fans, and to Evanovich fans in general.

- Matt Price

The Surrogates stars Bruce Willis and is based on the graphic novel by Robert Vendetti and Brett Weldele from Top Shelf. In “The Surrogates,” it’s 2054, and mankind experiences most of its life through surrogates, androids that the user can dial into and control. When the deaths of surrogates start affecting the humans controlling them – something that isn’t supposed to happen – it’s up to investigating detective Harvey Greer to unravel the mystery.

Classic science-fiction tales come to illustrated format with the first full-color volume in the “Graphics Classics” line.   The 17th volume of “Graphic Classics” will adapt stories from the original creators of science fiction including “The War of the Worlds” by H.G. Wells and “A Martian Odyssey” by Stanley G. Weinbaum.

Also available in this compilation are comics adaptations of “In the Year 2889,” a rare short story by Jules Verne; “The Disintegration Machine”, starring Arthur Conan Doyle’s Professor Challenger; E.M. Forster’s only SF tale, “The Machine Stops;” and shorts by Lord Dunsany and Hans Christian Anderson.

- Matt Price

If you can’t find a comic book this week, you’re not trying hard enough.

It’s simply a great week to buy comics.  Let’s look at some of the highlights.

Like classic comic strips? New collections of “Little Orphan Annie” and “Dick Tracy” hit stores today.

Like well-written, literary comics? There’s a new “League of Extraordinary Gentlemen” by Alan Moore.

Best value of the week? The first issue of “The Unwritten” by Mike Carey and Peter Gross.  It’s just $1 for 48 pages!  This was probably my favorite Vertigo first issue since “Y: The Last Man” #1.  If you like intelligent comics, there’s no reason you shouldn’t at least try it out for $1. Like I said after reading a preview copy at the ComicsPRO meeting in Memphis: “The Unwritten” looks to be a must for Harry Potter fans over the age of 17.

In the mood for a big superhero crossover? “Fusion” features the Avengers, the Thunderbolts, Cyberforce and Hunter/Killer.

Want a mystery? Mark Waid’s new “Unknown” is said to be in the vein of his award-winning mystery series “Ruse.”

How about a thriller? The third “un” title of the week is Mark Sable’s “Unthinkable” about a writer tasked to come up with doomsday scenarios for the government — that later end up coming true.

Want a collection of one of the most brilliant comics of the modern era? Fantagraphics has released a collection of Gilbert Hernandez’s “Luba.”

Want an action-packed superhero adventure? Check out “Superman: New Krypton” (partially written by OU graduate Sterling Gates)!

Want a jumping-on point for a popular Marvel hero?  Marvel’s provided just that in “Wolverine” #73. (Just don’t ask about #72. It’s complicated. It’ll be here eventually.)

Want to read one of the most ridiculous crossovers in human history? Check out the omnibus to “Secret Wars II.”

Looking for a new comic written by Ivan Brandon, writer of the buzz book “Viking”?  His “Final Crisis Aftermath: Escape” hits this week.

How about a nostalgic trip to the 1980s? Archie is reprinting its first “Teenage Mutant Ninja Turtles” issues.

Seriously. Go to your comic-book store this week.  It’s a great week for comics.

– Matt Price

MARVEL, X-Men, all related characters: TM & © 2009 Marvel Entertainment, Inc. and its subsidiaries. Licensed by Marvel Characters B.V. www.marvel.com. All rights reserved.

Writer Antony Johnston has handled everything from romantic comedy to the apocalypse, and in between, as an in-demand comic-book writer.  This month, he takes a new spin on Wolverine, creating Del Rey’s manga version of the character in “Wolverine: Prodigal Son.”  Drawing the series is Filipino artist Wilson Tortosa, best known for his work on Top Cow’s “Battle of the Planets.”  Johnston talked to The Oklahoman about his take on the mutant hero.

Matt Price: Your Wolverine takes an “all-new, all-different” spin from the classic Wolverine character. How did you decide what to keep, and what to jettison, from the regular Marvel Comics Wolverine character?

Antony Johnston: I started with the aim of removing as much baggage from the existing character as I could; to strip him down to his essentials, without removing the things that make him who he is. So the costume, him being a superhero, the X-Men, his rogues’ gallery… all those were dropped. That left us with the core essence of the character – his personality, his claws, his healing factor, and of course his crazy hairdo.

It’s important to realize that this isn’t about taking Wolverine, the superhero, and shoehorning him into a story where he doesn’t fit. This is about taking Logan, the man, and building him into a manga hero. That was the biggest influence on those decisions, and I was pretty ruthless about it.

MP: Tell me about your artist on the series.

AJ: His name’s Wilson Tortosa, a Filipino, and he’s best known in American comics for drawing the “Battle Of The Planets” book from Top Cow a few years back. I hadn’t worked with Wilson before, but as soon as I saw his first few pages of “Wolverine” layouts I knew he was perfect for the book. His pages are very kinetic, and he also has a good sense of storytelling dynamics for when the art needs to be more contemplative. I especially like how you can clearly see that manga has been a big influence on his work, but he’s not aping anyone. He has his own unique style.

MP: What was harder: writing a book that would appeal to Wolverine fans, or writing a book that would appeal to manga readers?

AJ: We didn’t really think of this book as trying to appeal to existing Wolverine fans at all. There are a few references, little nods, that sort of thing, for those fans to recognize and raise a smile. But our main concern was writing for manga readers. Yes, it was challenging at times, because we knew we’d have an uphill struggle to convince them that actually, they really do want to read a book about Wolverine! But it’s a good challenge, and one I relished.

MP: What is the long-term plan for “Wolverine: Prodigal Son”? Is it ongoing, or is there a definitive ending in mind?

AJ: The original agreement with Marvel was for two volumes. But everyone hopes they’ll succeed, so we can go on to do more and make it a longer series. I’m certainly keeping my fingers crossed, I’d love to keep the series going. I’ve even left a few small threads dangling that we can return to…

MP: What influenced you in creating your Wolverine?

AJ: A combination of things. Obviously there’s the original Marvel version of the character. Without that, you don’t have Wolverine at all. But in bringing him over to this story, and “rebuilding” him into a manga hero, the main influences were manga both old and new – from “Lone Wolf & Cub” to “Naruto” – and modern boy’s YA adventure fiction, such as the “Alex Rider” and “Cherub” series. That may sound like chalk and cheese, but it was important to me that “our” Wolverine was firmly contemporary.

MP: Why do you think the Wolverine character has been so enduring, and so popular?

AJ: I think he taps into something that we all appreciate in our heroes. He doesn’t suffer fools gladly, he doesn’t trust easily, he questions authority and he’s self-sufficient. But once you earn his respect, you know he’ll stick by you till the bitter end. Sure, he’s got the claws and he can kick your ass, but I really think his personality is the biggest draw, because we all feel the world could use more people like that. Everyone hopes that when it all comes down, they’d be brave enough to take a stand. With Wolverine, we don’t have to hope.

Since “The Resistance,” written by Justin Gray and Jimmy Palmiotti, was just released as a graphic novel by IDW, I thought I’d reprint my 2002 column talking about the series, first released by WildStorm.

—

In New York in 2280, unlicensed births are illegal, the city is in turmoil, and a civil war is being covered up by the government. This is the world of “The Resistance,” a new WildStorm title written by Jimmy Palmiotti and Justin Gray.

The artist on the book is Juan Santacruz.

Most of New York is covered in water, and skyscrapers leap 500 stories into the air.

In “The Resistance,” a disaster in 2030 caused nearly three-fourths of the Earth’s plants to die, leading to an ecological imbalance.

Species of animals are extinct. Oxygen production declined and brought about the need for artificial respiration farms. These vast factories manufacture breathable air for a dying world.

One hundred years of food riots, famine, war and chaos followed.

As “The Resistance” begins, the year is 2280. Food is Earth’s most precious commodity, and the planet is under the watchful eye of the Global Control Commission.

Since humanity does not have enough food to support itself, only those capable of financially supporting children and contributing to the global economy are allowed to reproduce.

Unauthorized free-births began calling themselves Strayz as they had strayed from the commission’s view of what was good for humanity.

These Strayz, born with a death sentence, formed small cells of Resistance fighters. They seek the overthrow of the commission and the exposure of the greatest conspiracy in human history.

“The Resistance” has the feel of a sci-fi blockbuster, Gray said on www.dccomics.com, the Web site of DC Comics, of which WildStorm is an imprint.

“‘The Resistance’ is meant to be fun – a big summer popcorn movie. So, if you want to kick back and be taken to another world, then ‘ Resistance’ is your kind of book.”

“The Resistance” is a fast-paced thriller with high-speed action and constantly shifting alliances and plans.

Palmiotti said in “The Resistance,” he and Gray are able to test the boundaries.

“In ‘ Resistance,’ we get to go crazy, open up our minds and blow off steam. We can do all sorts of extreme action sequences, poke fun at the world and work outside of reality. ‘ Resistance’ is like going to the amusement park with a free pass to all the rides.”

“The Resistance” bears some similarities to a superhero team, with a rotating cast of members.

Some members of ‘The Resistance’ will be rotating here and there, some will be shot and killed, and some will go through changes,” Palmiotti said at dccomics.com. “At its core, we follow four basic characters and a few supporting ones, as well. Think ‘X-Men’ without the mutant capabilities, blasting their way out of every situation, having to be smarter and more resourceful than everyone around them.”

- By Matthew Price
From The Oklahoman, Nov. 15, 2002

Wolverine’s girlfriend Mariko is coerced into marrying a boor of a businessman by her father, seeking more power for his clan.  Her husband beats her; Wolverine wants to retaliate, but doesn’t at Mariko’s request.  He does, however, find himself ambushed by Shingen, Mariko’s father, and very nearly killed.  The warrior Yukio nurses Wolverine back to health, but also harbors a dark secret.
Wolverine’s battle between his animal nature and his honor drive this tale, which is probably both the best-written and best-drawn Wolverine story.  It’s available now as a premiere hardcover from Marvel.

- Matt Price

With the Wolverine film coming up, I’ve decided to kick off “Wolverine Wednesdays” leading up to the film, and possibly continuing after.   I’ll discuss some Wolverine highlights for those who want to know more about the character.

Today’s book: Wolverine Classic Vol. 1,  by Chris Claremont and John Buscema

Some of my favorite Wolverine stories are the Madripoor tales by Claremont and Buscema. Claremont drops Logan into the seedy nation of Madripoor, which shares more than a few similarities with Humphrey Bogart’s Casablanca. Wolverine, who is believed to be dead by the outside world, calls himself “Patch” and gets into scrapes with crimelords and pirates.

The former Spider-Woman, Jessica Drew appears, as does former X-Men foe Silver Samurai, as Wolverine seeks the Black Blade.  Also, the clash between General Coy and rival crimelord Tyger Tiger draws Patch’s attention.

This collection also introduces the brawling Roughhouse and the vampiric Bloodsport, two new recurring Wolverine foes.

Buscema’s art is a high point.  The former “Conan” artist knew how to draw action, and there’s plenty of excuses for that in “Wolverine Classic.”

Claremont does his best noir pastiche in these first issues of the “Wolverine” ongoing series collected here, and while it doesn’t top his miniseries with Frank Miller starring the character, it’s certainly worthwhile and enjoyable reading.  It’s unlikely to change how you think about comics, but if you enjoy Wolverine, “Casablanca,” or noir stylings, this is  a good “Wolverine” collection to check out.

– Matt Price

The 2008 Eisner nominees have been announced, and there are a few Oklahoma-related nominees included, among them “Thor,” “Willie & Joe,” and “Omega the Unknown.” “Thor” has been set in Oklahoma since the 2007 relaunch of the title.  “Willie and Joe” was written and drawn by Bill Mauldin, a member of the Oklahoma Cartoonists Hall of Fame, and the subject of nominated best comics-related book, “Bill Mauldin: A Life Up Front,” by Todd DePastino.   And “Omega the Unknown” was drawn by former Tulsan Farel Dalrymple.

See the full list after the break.

The full list follows

Best Short Story

* “Actual Size” by Chris Ware, in Kramers Ergot 7 (Buenaventura Press)

* “Chechen War, Chechen Women,” by Joe Sacco, in I Live Here (Pantheon)

* “Freaks,” by Laura Park, in Superior Showcase #3 (AdHouse)

* “Glenn Ganges in ‘Pulverize,’” by Kevin Huizenga, in Ganges #2 (Fantagraphics)

* “Murder He Wrote,” by Ian Boothby, Nina Matsumoto, and Andrew Pepoy, in The Simpsons’ Treehouse of Horror #14 (Bongo)

Best Continuing Series

* All Star Superman, by Grant Morrison and Frank Quitely (DC)

* Fables, by Bill Willingham, Mark Buckingham, Steve Leialoha, Niko Henrichon, Andrew Pepoy, and Peter Gross (Vertigo/DC)

* Naoki Urasawa’s Monster, by Naoki Urasawa (Viz)

* Thor, by J. Michael Straczynski, Olivier Coipel, Mark Morales, and various (Marvel)

* Usagi Yojimbo, by Stan Sakai (Dark Horse)

Best Limited Series

* Groo: Hell on Earth, by Sergio Aragonés and Mark Evanier (Dark Horse)

* Hellboy: The Crooked Man, by Mike Mignola and Richard Corben (Dark Horse)

* Locke & Key, by Joe Hill and Gabriel Rodriguez (IDW)

* Omega the Unknown, by Jonathan Lethem, Karl Rusnak, and Farel Dalrymple (Marvel)

* The Twelve, by J. Michael Straczynski and Chris Weston (Marvel)

Best New Series

* Air, by G. Willow Wilson and M. K. Perker (Vertigo/DC)

* Echo, by Terry Moore (Abstract Studio)

* Invincible Iron Man, by Matt Fraction and Salvador Larocca (Marvel)

* Madame Xanadu, by Matt Wagner, Amy Reeder Hadley, and Richard Friend (Vertigo/DC)

* Unknown Soldier, by Joshua Dysart and Alberto Ponticelli (Vertigo/DC)

Best Publication for Kids

* Amulet, Book 1: The Stonekeeper, by Kazu Kabuishi (Scholastic Graphix)

* Cowa!, by Akira Toriyama (Viz)

* Princess at Midnight, by Andi Watson (Image)

* Stinky, by Eleanor Davis (RAW Junior)

* Tiny Titans, by Art Baltazar and Franco (DC)

Best Publication for Teens/Tweens

* Coraline, by Neil Gaiman, adapted by P. Craig Russell (HarperCollins Children’s Books)

* Crogan’s Vengeance, by Chris Schweizer (Oni)

* The Good Neighbors, Book 1: Kin, by Holly Black and Ted Naifeh (Scholastic Graphix)

* Rapunzel’s Revenge, by Shannon and Dean Hale and Nathan Hale (Bloomsbury Children’s Books)

* Skim, by Mariko Tamaki and Jillian Tamaki (Groundwood Books)

Best Humor Publication

* Arsenic Lullaby Pulp Edition No. Zero, by Douglas Paszkiewicz (Arsenic Lullaby)

* Chumble Spuzz, by Ethan Nicolle (SLG)

* Herbie Archives, by “Sean O’Shea” (Richard E. Hughes) and Ogden Whitney (Dark Horse)

* Petey and Pussy, by John Kerschbaum (Fantagraphics)

* Wondermark: Beards of Our Forefathers, by David Malki (Dark Horse)

Best Anthology

* An Anthology of Graphic Fiction, Cartoons, and True Stories, Vol. 2, edited by Ivan Brunetti (Yale University Press)

* Best American Comics 2008, edited by Lynda Barry (Houghton Mifflin)

* Comic Book Tattoo: Narrative Art Inspired by the Lyrics and Music of Tori Amos, edited by Rantz Hoseley (Image)

* Kramers Ergot 7, edited by Sammy Harkham (Buenaventura Press)

* MySpace Dark Horse Presents, edited by Scott Allie and Sierra Hahn (Dark Horse)

Best Digital Comic

* Bodyworld, by Dash Shaw

* Finder, by Carla Speed McNeil

* The Lady’s Murder, by Eliza Frye

* Speak No Evil: Melancholy of a Space Mexican, by Elan Trinidad

* Vs., by Alexis Sottile & Joe Infurnari

Best Reality-Based Work

* Alan’s War, by Emmanuel Guibert (First Second)

* Blue Pills: A Positive Love Story, by Frederik Peeters (Houghton Mifflin)

* Fishtown, by Kevin Colden (IDW)

* A Treasury of XXth Century Murder: The Lindbergh Child, by Rick Geary (NBM)

* What It Is, by Lynda Barry (Drawn & Quarterly)

Best Graphic Album — New

* Alan’s War, by Emmanuel Guibert (First Second)

* Paul Goes Fishing, by Michel Rabagliati (Drawn & Quarterly)

* Skim, by Mariko Tamaki and Jillian Tamaki (Groundwood Books)

* Swallow Me Whole, by Nate Powell (Top Shelf)

* Three Shadows, by Cyril Pedrosa (First Second)

Best Graphic Album — Reprint

* Berlin Book 2: City of Smoke, by Jason Lutes (Drawn & Quarterly)

* Hellboy Library Edition, Vols. 1-2, by Mike Mignola (Dark Horse)

* Sam & Max Surfin’ the Highway Anniversary Edition HC, by Steve Purcell (Telltale Games)

* Skyscrapers of the Midwest, by Joshua W. Cotter (AdHouse)

* The Umbrella Academy, Vol. 1: Apocalypse Suite, deluxe edition, by Gerard Way and Gabriel Ba (Dark Horse)

Best Archival Collection/Project — Strips

* The Complete Little Orphan Annie, by Harold Gray (IDW)

* Explainers, by Jules Feiffer (Fantagraphics)

* Little Nemo in Slumberland, Many More Splendid Sundays, by Winsor McCay (Sunday Press Books)

* Scorchy Smith and the Art of Noel Sickles (IDW)

* Willie & Joe, by Bill Mauldin (Fantagraphics)

Best Archival Collection/Project — Comic Books

* Breakdowns: Portrait of the Artist as a Young %@&*!, by Art Spiegelman (Pantheon)

* Creepy Archives, by Various (Dark Horse)

* Elektra Omnibus, by Frank Miller and Bill Sienkiewicz (Marvel)

* Good-Bye, by Yoshihiro Tatsumi (Drawn & Quarterly)

* Herbie Archives, by “Sean O’Shea” (Richard E. Hughes) and Ogden Whitney (Dark Horse)

Best U.S. Edition of International Material

* Alan’s War, by Emmanuel Guibert (First Second)

* Gus and His Gang, by Chris Blain (First Second)

* The Last Musketeer, by Jason (Fantagraphics)

* The Rabbi’s Cat 2, by Joann Sfar (Pantheon)

* Tamara Drewe, by Posy Simmonds (Mariner/Houghton Mifflin)

Best U.S. Edition of International Material — Japan

* Cat Eyed Boy, by Kazuo Umezu (Viz)

* Dororo, by Osamu Tezuka (Vertical)

* Naoki Urasawa’s Monster, by Naoki Urasawa (Viz)

* The Quest for the Missing Girl, by Jiro Taniguchi (Fanfare/Ponent Mon)

* Solanin, by Inio Asano (Viz)

Best Writer

* Joe Hill, Locke & Key (IDW)

* J. Michael Straczynski, Thor, The Twelve (Marvel)

* Mariko Tamaki, Skim (Groundwood Books)

* Matt Wagner, Zorro (Dynamite); Madame Xanadu (Vertigo/DC)

* Bill Willingham, Fables, House of Mystery (Vertigo/DC)

Best Writer/Artist

* Rick Geary, A Treasury of XXth Century Murder: The Lindbergh Child (NBM); J. Edgar Hoover (Hill & Wang)

* Emmanuel Guibert, Alan’s War (First Second)

* Jason Lutes, Berlin (Drawn & Quarterly)

* Cyril Pedrosa, Three Shadows (First Second)

* Nate Powell, Swallow Me Whole (Top Shelf)

* Chris Ware, Acme Novelty Library (Acme)

Best Penciller/Inker or Penciller/Inker Team

* Gabriel Ba, The Umbrella Academy (Dark Horse)

* Mark Buckingham/Steve Leialoha, Fables (Vertigo/DC)

* Olivier Coipel/Mark Morales, Thor (Marvel)

* Guy Davis, BPRD (Dark Horse)

* Amy Reeder Hadley/Richard Friend, Madame Xanadu (Vertigo/DC)

* Jillian Tamaki, Skim (Groundwood Books)

Best Painter/Multimedia Artist

* Lynda Barry, What It Is (Drawn & Quarterly)

* Eddie Campbell, The Amazing Remarkable Monsieur Leotard (First Second)

* Enrico Casarosa, The Venice Chronicles (Atelier Fio/AdHouse)

* Scott Morse, Tiger! Tiger! Tiger! (Red Window)

* Jill Thompson, Magic Trixie, Magic Trixie Sleeps Over (HarperCollins Children’s Books)

Best Cover Artist

* Gabriel Ba, Casanova (Image); The Umbrella Academy (Dark Horse)

* Jo Chen, Buffy the Vampire Slayer, Serenity (Dark Horse); Runaways (Marvel)

* Amy Reeder Hadley, Madame Xanadu (Vertigo/DC)

* James Jean, Fables (Vertigo/DC); The Umbrella Academy (Dark Horse)

* Matt Wagner, Zorro (Dynamite); Grendel: Behold the Devil (Dark Horse)

Best Coloring

* Steve Hamaker, Bone: Ghost Circles, Bone: Treasure Hunters (Scholastic Graphix)

* Trish Mulvihill, Joker (DC), 100 Bullets (Vertigo/DC)

* Val Staples, Criminal, Incognito (Marvel Icon)

* Dave Stewart, Abe Sapien: The Drowning, BPRD, The Goon, Hellboy, Solomon Kane, The Umbrella Academy (Dark Horse); Body Bags (Image); Captain America: White (Marvel)

* Chris Ware, Acme Novelty Library #19 (Acme)

Best Lettering

* Farel Dalrymple, Omega: The Unknown (Marvel)

* Jimmy Gownley, Amelia Rules! (Renaissance)

* Scott Morse, Tiger! Tiger! Tiger! (Red Window)

* Nate Powell, Swallow Me Whole (Top Shelf)

* Chris Ware, Acme Novelty Library #19 (Acme)

Best Comics-Related Periodical/Journalism

* Comic Book Resources, produced by Jonah Weiland

* The Comics Journal, edited by Gary Groth, Michael Dean, and Kristy Valenti (Fantagraphics)

* The Comics Reporter, produced by Tom Spurgeon and Jordan Raphael

* Comics Comics, edited by Timothy Hodler and Dan Nadel (PictureBox)

Best Comics-Related Book

* Bill Mauldin: A Life Up Front, by Todd DePastino (Norton)

* Brush with Passion: The Art and Life of Dave Stevens, edited by Arnie and Cathy Fenner (Underwood)

* Drawing Words and Writing Pictures, by Jessica Abel and Matt Madden (First Second)

* Kirby: King of Comics, by Mark Evanier (Abrams)

* The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America, by David Hajdu (Picador/Farrar, Straus & Giroux)

Best Publication Design

* Breakdowns: Portrait of the Artist as a Young %@&*! designed by Art Spiegelman (Pantheon)

* Comic Book Tattoo, designed by Tom Muller, art direction by Rantz Hoseley (Image)

* Hellboy Library Editions, designed by Cary Grazzini and Mike Mignola (Dark Horse)

* What It Is, designed by Lynda Barry (Drawn & Quarterly)

* Willie and Joe, designed by Jacob Covey (Fantagraphics)

WORD BALLOONS

The post-apocalyptic oddball characters of “Bastard Road” return in “Popgun” Vol. 3, set to release Wednesday from Image Comics.

Brian Winkeler of Yukon is the writer of “Bastard Road.” Dave Curd, the artist, also has Okahoma connections; he spent about 12 years living in Oklahoma City, Moore and Edmond. Curd and Winkeler co-created “Bastard Road.” Winkeler recently talked to The Oklahoman about the new story.

Q: Describe the “Bastard Road” series of stories.

A: “Bastard Road” is the ongoing saga of Bastard, a wandering amnesiac who’s only interested in punching dudes and romancing ladies, and his reluctant, ever hungry traveling companion Farel. It’s an ultraviolent post-apocalyptic action/comedy: SpongeBob Squarepants meets “The Road Warrior.” “Bastard Road” was launched in the pages of “Popgun” Vol. 2 and this story takes place directly after that one.

Q: Tell me about the Popgun concept.

A: Popgun is a “graphic mixtape” series published by Image Comics. It’s intended as a comic book version of a “various artists” music compilation. Popgun contains 500 or so pages of new material from mostly unknown creators doing whatever they want – the only connectivity being that the editors think the work is great. We’re very lucky in that, not only have we had the opportunity to produce “Bastard Road” content for “Popgun,” but the editors are all big fans of the property, so they’ve really gone the extra mile in choosing to use “Bastard Road” to promote the entire compilation.

Q: What kind of trouble do the characters get into this time around?

A: In this new tale, Bastard and Farel discover a post-apocalyptic village terrorized at night by a giant, mutant rooster. Violent hilarity ensues.

Q: What does the future look like for “Bastard Road”?

A: We’re currently producing two 12-page stories for the upcoming Popgun volume 4, introducing sexy lady lumberjack Elle Natural as well as the cold-as-ice lizard bounty hunter ‘Good Baby’ Scales. We’re working on a plan now to release a standalone “Bastard Road” graphic novel in 2010, and we’re currently developing a pitch for an animated “Bastard Road” series. We’re also hoping to start creating some unique merchandising materials featuring characters from the Bastardverse. All in all, we’re going to take “Bastard Road” as far as we can, so anything is possible!

From Friday’s The Oklahoman
by Matthew Price

MEMPHIS, Tenn. — The sales of “Watchmen” collected editions have topped 1 million units since the trailer was released with the “Dark Knight” film in July 2008, DC Vice President of Sales Bob Wayne announced at the ComicsPRO Annual Meeting.

In addition, DC Comics offered a fourth consignment program for retailers to help keep “Watchmen” stocked deeply on store shelves.

“We think there will still be people coming in looking for this book,” Wayne said, citing anticipated continued demand projected by DC Comics.

– Matt Price

MEMPHIS, Tenn. — “Flash Chronicles,” reprinting the original adventures of the Barry Allen Flash, is among the highlights of DC Comics’ collected editions discussed at the ComicsPRO Annual Meeting.

Barry Allen’s first appearance in “Showcase” #4 kicked off what’s considered the Silver Age of Comics, and Flash joins Superman, Batman and Green Lantern in the “Chronicles” line.  The first volume is scheduled to ship in September.

Other highlights from the Collected Editions presentation:

- A one-volume collection of “Batman: Hush” by Jeph Loeb and Jim Lee in August

- The first Zuda collection, “High Moon” vol. 1, written by former University of Oklahoma student David Gallaher, is scheduled for October.

- The all-ages “Supergirl: Cosmic Adventures in the Eighth Grade,” is scheduled for December.

DC’s black-and-white “Showcase” collections are going to move toward one release per month rather than two per month.   The volumes scheduled through the rest of the year are Bat Lash in July; Eclipso in August; Warlord in September; House of Secrets vol 2 in October; DC Comics Presents Superman Team Ups in November; and Wonder Woman vol 3 in December.

The panel also offered sneak peeks into 2010, including an “Adam Hughes Cover to Cover” art book; “Absolute Green Lantern Rebirth;” and new editions of “Sandman” implementing the recoloring done for the Absolute editions of the series.

– Matt Price

MEMPHIS, Tenn.  -  DC Comics’ mature-readers line, Vertigo, will launch three new ongoing series in 2009, it was announced at the annual ComicsPRO meeting of comic-book retailers.

Vertigo’s new series in 2009 are “The Unwritten,” “Greek Street” and “Sweet Tooth.”

“The Unwritten,” set for a May release, is by the “Lucifer” creative team of Mike Carey and Peter Gross.  Vertigo Executive Editor Karen Berger said “The Unwritten” was along the lines of a “classic” Vertigo series like “Sandman” and “Books of Magic.”

“It really blends the best of reality with fantasy,” Berger said.

The  second series, “Greek Street,” is written by Peter Milligan (”Shade the Changing Man”).

“It does for Greek mythology what ‘Fables’ has done for fairy tales,” Berger said, referencing Bill Willingham’s series about fable characters in the real world. “It’s taking themes you find in Greek classics and reinventing them in modern times.”

The third series, announced for the first time at ComicsPRO, is “Sweet Tooth.”  This series is written and drawn by Jeff Lemire (”Essex County”).

“Sweet Tooth” features a young man, born with antlers after a nuclear apocalypse, finding his way through his post-apocalyptic world after the death of his father.

Berger said the book had lots of Western elements and an indie flavor.

“We try to support new visions,” Berger said. “This is a book you can give to people who don’t read comics.”

– Matt Price

According to Box Office Mojo, “Watchmen” dropped by two-thirds in its second weekend for a weekend total of $18.1 million.  According to Box Office Mojo, only “Hellboy II” and “Hulk” had stiffer second-week drops among major comic-book movies.

While I think “Watchmen” was a success creatively, for the most part, there is the question of the film’s intended audience. Comic-book fans came out in droves and packed the IMAX theaters, but this wasn’t a movie that tracked well among women, and it wasn’t the kind of film that parents could take their children to see.

Still, the graphic novel has long been fiercely admired among its fans, and it’s possible the film will find a similar success in the longer term.  While cinema-goers have accepted Spider-Man and Batman films, there is apparently still some resistance to or confusion over a very mature superhero tale like “Watchmen.”

Still, I’d like to pass on some thoughtful words from someone else, who, like the characters in “Watchmen,” is a denizen of 1985:

“I guess you guys aren’t ready for that, yet. But your kids are gonna love it.”

– Matt Price

Questions and answers with artist Dave Gibbons, from the “Watchmen” junket in Beverly Hills, Calif.  Gibbons created the comic-book series “Watchmen” with writer Alan Moore, who declined to be involved with the movie.

Q: Will Alan Moore ever see the movie? 

Dave Gibbons: I really don’t know. I hesitate to speak at all for Alan.

I certainly… Because he’s asked me not to talk to him about the movie. He’s happy to talk to me, but don’t talk about the movie. I’m unlikely to phone him up and say, hey Alan, it’s really great, why don’t you see it?

Even in the backwoods of England where I come from it’s inescapable. In my little corner store are all the movie mags with Watchmen and Dr. Manhattan, so I suppose he won’t be able to escape it completely.

Q: How do you think the film came out?  The book has been called been called “unfilmable” before.

Gibbons: I think it came out really well.

I think to (director) Zack (Snyder), unfilmable is a challenge rather than an, ‘oh, well let’s not bother.’  I think to say anything is undoable shows a lack of vision.

Clearly the movie is a different beast than the comic book. The story in its purest primal form is the comic book. But I Think the movie has a lot of the virtues of the comic book and is an exciting translation of it.

Do you think it was faithful to the book? 

Gibbons: I did. In a way, I’m the worst person in the world to ask. Because when I was drawing the comic book, I would sit in my room and close my eyes  and see a little movie, and then think, oh yeah, that’s the one -  and then draw that. And seeing the movie was to see that for real. …

Certainly a lot of my favorite scenes are there more or less intact.   A lot of Alan’s wonderful dialogue is more or less intact. Many of the compositions and set ups that I did are there.

I thought it had an incredible emotional weight as well. The scenes with Rorschach toward the end, you can’t believe it’s going to happen, really.

On every level, the amount of detail, the moral ambiguity, I couldn’t imagine being happier.

Q: What did you think of Rorschach’s inkblots moving on the screen? 

Gibbons: That was chilling; we always had an idea that that would be a really scary thing to see in real life.  In the comic book of course we could only approximate that by showing it changing.  I have met people at comic book convention masquerades with a static mask, and that’s unsettling enough. It’s like running into somebody with really dark glasses, you can’t see what they’re thinking.  So to have it moving as well is really eerie and unsettling.

Encouraged by fan chatter online that he’d make a good Rorschach, Haley made his own costume, and acted out scenes from the screenplay. He sent the tape to the producers of “Watchmen.”

After impressing the producers and director Zack Snyder, Haley became Rorschach – and in the process was reunited with his “Little Children” co-star Patrick Wilson. Wilson had already been cast as Nite Owl, Rorschach’s former crime-fighting partner.

“For me it was kind of interesting, to show up on the set and to basically, at least at the start, to know one guy, to only really have one friend there,” Haley said in a recent press interview. “And I did internally focus on that, because Rorschach only has one friend. And it happens to be the same guy. So there’s a neat parallel there.”

Rorschach is the most obsessive of this group of obsessives; when the superheroes in “Watchmen” are forced to retire by an act of Congress, Rorschach presses on in violation of the law. When one of their own is murdered, it’s Rorschach who believes someone is out to get the masks, and won’t let the investigation stop.

“This guy’s so lost in this world,” Haley said. “The cops don’t like him, the pedestrians don’t like him, his own masked vigilante partners don’t like him. If it wasn’t for Nite Owl, this guy would be absolutely, completely alone. And really, Nite Owl doesn’t even like the guy! If you really look at it, he puts up with him! But he does care.”

Rorschach’s drive results from his neglected upbringing, Haley said.

“He’s a victim of his mom’s own self-centeredness. … He ended up in a home at age 11 only to discover they weren’t much better at raising him than his mom was,” he said. “And I think he finally reached this point in life where he needed this black and white sense of the world. Because he was such a victim of the grey complexities.

“His whole life was falling through the cracks. And if it weren’t for becoming a masked vigilante, this guy would have no purpose in life.”

That focus on what would motivate a character to wear a mask and fight crime was part of what made the graphic novel “Watchmen,” which was the basis for the film, so successful, Haley said.

“People never thought to challenge the assumptions of the comic-book genre,” Haley said. “Watchmen” creators Alan Moore and Dave Gibbons took this medium that was more of a childlike entertainment medium, and decided to take that template and use it in more of a thought-provoking, grown-up manner to examine humanity. And it’s kind of fascinating when you take those two worlds and put them together,” he said.

That world was translated to film through the expertise of Snyder and the hundreds of craftspeople and technicians working on the film. Working on the heavily designed sets aided in the performance, Haley said.

“Zack created this incredible world,” he said. “Walking onto these beautiful sets was … incredibly motivating. You take the wardrobe design department, the makeup design department, all these departments that came together to create each character and these sets – it was total immersion.”

From Friday’s The Oklahoman
By Matthew Price

This Oct. 19, 2001  will serve as this week’s “Retro Thursday” piece.   This article was published tying in with the release of the “From Hell” movie.

Also, with “Watchmen” nearing, I wanted to do a series pointing out additional works by Alan Moore that those who liked the “Watchmen” graphic novel can seek out.  Thus, “More Moore.”   My first suggestion is the unsettling classic, “From Hell.”

—-

“It is beginning, Netley. Only just beginning. For better or worse, the twentieth century. I have delivered it.”

That quote, from the character revealed as Jack the Ripper, drives the central premise of “From Hell,” the graphic novel by Alan Moore and Eddie Campbell. Moore postulates through his fictionalized narrative that the Ripper killings of 1888 launched the world forward, and not necessarily for the better. Jack the Ripper, the world’s most famous serial killer, is revealed as a man seeking mystical power, while at the same time trying to silence a secret that could shake England.

“From Hell,” which takes its title from a letter received claiming credit for the Ripper murders, is the basis of the film starring Johnny Depp and Heather Graham.

The 500-plus page graphic novel, containing more than 60 pages of notes by Moore and Campbell, is published by Eddie Campbell Comics and represented in the United States by Top Shelf.

Moore’s Jack the Ripper tale is less a whodunit than a whydunit – the Ripper in the “From Hell” graphic novel is revealed fairly early on. By so doing, “From Hell” is able to move beyond a simple examination of the facts and go further, into an exploration of conspiracy, blackmail, murder and magic.

Inspector Frederick Abberline is the hero of the graphic novel, the police inspector charged with finding Bloody Jack. Also appearing are Robert Lees, the queen’s psychic; Sir William Gull, the Queen’s physician; and the victims of the Ripper, most prominently Mary Kelly.

Moore, the author of the acclaimed comic-book works “Watchmen,” and “V for Vendetta,” among others, is at his peak as a mature storyteller with “From Hell,” which is among the most ambitious, cogent and impressive works ever attempted in the graphic novel format.

Campbell’s art is different from the norm in graphic novels. His scratchy impressionism is perhaps more difficult to take to on first blush, but as the book continues, and the reader grows acclimated to the style, Campbell’s art pulls the reader further and deeper into the Victorian nightmare.

Campbell, the creator of “Alec” and “Bacchus,” is also an acclaimed writer, and the perfect choice to meticulously translate Moore’s opus into graphic form.

Moore and Campbell began work on “From Hell” in the late 1980s. A decade and multiple publishers later, “From Hell” was collected into an impressive $35 package.

Digesting the whole of “From Hell” leaves a sense of unease; it is horror in the truest sense. That unease was not lost on the author, whose close analysis of the killings left him feeling an uncomfortable tie to his subject.

“For my part I am concerned with cutting into and examining the still-warm corpse of history itself,” Moore said in his notes. “In some of my chilliest moments, I suspect that this was his foremost pre-occupation also, albeit in pursuit of different ends.”

WORD BALLOONS

“Watchmen,” the Zack Snyder adaptation of the graphic novel by Alan Moore and Dave Gibbons, hits theaters next month. In the meantime, DC Comics and Titan Books have created books and merchandise to take fans into the alternate 1980s world of “Watchmen.”

First, the story itself. Named one of Time magazine’s 100 greatest novels, the “Watchmen” graphic novel is available in a variety of formats.

Most impressively, the oversized “Absolute Watchmen” ($75) features 48 pages of supplemental material beyond the 12-issue series. It contains the series proposal, pages from the original script, and additional art. The art was remastered and recolored for the original printing of “Absolute Watchmen,” and it’s now used for all of the “Watchmen” reprints.

Also available are a “Watchmen” hardcover ($39.99), a “Watchmen” trade paperback collection ($19.99) and a single-issue reprint of “Watchmen” issue No. 1 ($1.50).

In addition to the book, DC’s toy division, DC Direct, has created action figures, busts and props of the “Watchmen” characters.

Titan Books, meanwhile, has released four tie-in books surrounding the “Watchmen” film.

“Watching the Watchmen,” written by Dave Gibbons, comes in two editions. The comic-store exclusive edition has a cover featuring the character “The Comedian” and additional pages. It’s also signed by Gibbons and comes with exclusive prints. This edition retails for $50. The standard edition retails for $39.95 and has a cover featuring Dr. Manhattan.

“Watchmen: Portraits” ($50) features black-and-white portrait shots of people in the film, ranging from stars to extras, and was shot by official movie photographer Clay Enos.

“Watchmen: The Film Companion” ($29.95 hardcover, $19.95 softcover) was written by Peter Aperlo and explores the behind-the-scenes making of the film. Aperlo also writes “Watchmen: The Art of the Film,” ($40), which features storyboards, photography and preproduction art. Possibly most intriguing for comic-book fans will be the new art created by Gibbons, as well as alternate takes on the characters by comic-book artists John Cassaday, David Finch and Adam Hughes.

All of the Titan Books releases contain spoilers for the film and graphic novel, so read the book or see the film prior to reading the ancillary material.

Judging from the books, Snyder and company look to have created a rich alternate world, and tried to respect the graphic novel, which has engrossed readers for more than 20 years.

– Matthew Price
From Friday’s The Oklahoman

WORD BALLOONS

Today is Friday the 13^th, a day known for horrific happenings. Tomorrow is Valentine’s Day, a day noted for love and romance.

If you’re a comic-book character, sometimes the two are closely intertwined.

Peter Parker and Mary Jane Watson, married in “Amazing Spider-Man” Annual No. 18, found their marriage undone and history rewritten in the storyline “One More Day.”

While Peter’s again a swinging single in current issues of “Amazing Spider-Man,” Spider-fans who preferred the romance and marriage of Peter and MJ can seek out several stories that celebrate the relationship – and some feature horror and peril, as well.

“Spider-Man: Carnage in New York,” a 1998 novel by David Michelinie and Dean Wesley Smith, features the escape of the horrific, mass-murdering Carnage, one of Spider-Man’s greatest foes.

Carnage was the spawn of Venom, and both spawned from the alien symbiote that Spider-Man brought back from the Beyonder’s world in “Secret Wars.” When Spider-Man rejected the symbiote, it bonded with Eddie Brock, a reporter who hates Spider-Man. Later, a piece of the symbiote merged with Brock’s cellmate, the murderer Cletus Kassady.

Michelinie created both Venom and Carnage in the pages of “Amazing Spider-Man,” and wrote the issue that married Peter and Mary Jane. He and novelist Smith capture Carnage’s horrific nature in the novel.

But there’s also room for love – as Peter’s Aunt May faces losing her house, Mary Jane must stand strong with love for her husband and family.

A newlywed Peter Parker took on another of his greatest villains, Kraven the Hunter, in the storyline “Kraven’s Last Hunt,” written by J.M. DeMatteis and drawn by Mike Zeck. “Last Hunt,” considered one of the great Spider-Man stories, has both elements of true horror and true love, as Spider-Man’s love for Mary Jane sustains him through one of his greatest challenges.

“Kraven’s Last Hunt” was reprinted again last year in trade paperback format by Marvel, collecting “Web of Spider-Man” Nos. 31-32, “Amazing Spider-Man” Nos. 293-294, and “Spectacular Spider-Man” Nos. 131-132.

By Matthew Price
From Friday’s The Oklahoman

I think Andi Watson is one of the great, underrated comic-book creators of the past decade.   For a while there, it was if he was writing comics just for me: the screwball-inspired newspaper comedy “Slow News Day,” the superhero relationship drama “Love Fights,” and “Little Star,” possibly the best graphic novel ever written about parenting.   All of those were written and drawn by Watson, who moved from a manga-influenced style in his first comics, “Samurai Jam” and “Skeleton Key,” to a more European-influenced design in “Geisha,” which came out from Oni Press.

You can see a recent project of Watson’s, “Great Uncle George’s Will,” at Tor.com.

 I talked to Andi in 2001, as he was working on “Slow News Day” and “Breakfast After Noon,” an Eisner-nominated tale of unemployment.

Nearly everyone has had to deal with losing a job. Andi Watson, writer/artist of “Geisha,” explores the life of a suddenly out-of-work couple in the Eisner-nominated “Breakfast After Noon.”

Rob and Louise are engaged to be married when they both lose their jobs at a British factory.

“Breakfast After Noon” follows the different reactions they have to being laid off and the pressure it puts on their relationship.

While Louise returns to school, Rob refuses to give up on getting his job back – until the company shuts down.

“It’s about the decline of the manufacturing industry, the effect of unemployment on a life, love, work, money and social change,” Watson said.

“I started with the desire to try and capture what it feels like and what happens to someone without a job,” he said. “There is a stigma attached; there is an effect on self-esteem. … Most people want to work. It goes beyond the financial and into the moral. Most of us want to feel we’re of use to the world, we do something – being on the dole is not easy. People who say that usually haven’t been unemployed.”

The 308-page graphic novel “Breakfast After Noon” is available for $19.95 from Oni Press.

Another project of Watson’s is the screwball comedy “Slow News Day.”

“Slow News Day” follows California reporter Katharine Washington to her new job at a regional newspaper in England, the Wheatstone Mercury. The Mercury is undergoing changes, which have left it with one full-time reporter, Owen Holmes.

“Together they cover all the strange little stories that you see in local newspapers: school football teams, injured turkeys, lost hamsters,” Watson said. “It’s about the differences in the U.S. and U.K., personal and professional relationships, success, ambition, and parents and children.”

Watson said the idea for “Slow News Day” stemmed from his love of 1930s comedies.

“Slow News Day” is a six-issue miniseries from Slave Labor Graphics. The first issue is now available.

Watson, who has been nominated for two Eisner awards, broke into comics with “Samurai Jam,” a skateboarding comic.

Watson was the writer of Dark Horse’s “Buffy the Vampire Slayer” for two years.

“Company-controlled stuff is, as the name says, company-controlled,” Watson said. “It’s not like there’s one boss; there are several all with differing views of what the franchise is and how it should be translated into comics.

“With my own projects I do things exactly how I want them to be done. It’s my personal vision and is in my control from writing through to coloring the covers,” Watson said. “That’s one of the great things about doing your own comics; it’s your story, and no one can tell you if it’s right or wrong.”

– Matthew Price
From the July 27, 2001, issue of The Oklahoman