Wednesday, April 2, 2014

SIDE PROJECT | FELONY COMICS #1 COVER

Here is my cover for Negative Pleasure Publications's FELONY COMICS #1, which is debuting at MoCCA this Saturday, April 5th.

Friday, March 14, 2014

THE ABYSS'S BANE

My contribution to the upcoming MUTATION 1.

Wednesday, February 12, 2014

INTERVIEW | THE HUNDREDS


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

Wednesday, January 22, 2014

SIDE PROJECT | 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 ...

Tuesday, January 7, 2014

SIDE PROJECT | ROBOCOP MEETS SHOWGIRLS

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

Wednesday, December 4, 2013

SIDE PROJECT | 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.

Tuesday, October 29, 2013

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.

SIDE PROJECT | HIP HOP FAMILY TREE PIN-UP | DMX

Here's my pin-up of DMX for Volume 2 of Ed Piskor's Hip Hop Family Tree. DMX may be my favorite rapper ever.

Saturday, October 19, 2013

BLADES & LAZERS SOLD OUT | 2ND PRINTING

The first run of BLADES & LAZERS has sold out, so Ian Harker's Sacred Prism went back to press for a second printing. You can order your copies here at the Sacred Prism online store.

SIDE PROJECT | KAYTRANADA EP "AT ALL / HILARITY DUFF" ALBUM ART

I provided album art for the new Kaytranada EP, "AT ALL / HILARITY DUFF." Vinyl copy coming soon. But you can check out the tracks here.

Wednesday, October 16, 2013

THE MARRA METHOD: TRADITIONAL COMICS TECHNIQUES FOR VISUAL STORYTELLING | 11. USE THOUGHT BALLOONS

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.

11. Use Thought balloons

• Use Thought Balloons because they intrinsic to the language of comic books. 

• They are like a letter in the alphabet of the comic book language. 

• Use Caption Boxes to convey information you can't with Thought Balloons or Speech Balloons.

• Use Thought Balloons for internal monologues of characters, for the things you can't convey with Caption Boxes or Speech Balloons.

• A lot of mainstream books don't use Thought Balloons because they want comic books to be more like movies, where thought balloons can't exist. They want comic books to be pitches for movie content. Who can blame them when these movies make billions of dollars? The movie executives they're pitching to don't like thought balloons I guess. (It's also the reason why you see a lot of mainstream comics using "widescreen" panels. This makes it easier for movie executives to envision the comic book panels as storyboard or compositions on a screen).

• They don't use Thought Balloons because they don't want comic books to be hokey, corny or cheesy. They think Thought Balloons are dated. 
- (Side thought: I believe the lack of Thought Balloon usage in mainstream comics is evidence of the medium's inferiority complex in relation to other mainstream media—movies, TV, video games. Mainstream comic books try to forsake what makes them different and unique, like Thought Balloons. Instead they try to emulate other media elements.)

• Thought Balloons are essential.

• To not use Thought Balloons is to deny comic books' true nature and language.

• To not use Thought Balloons is to deny comic books' true power.