“Joe Keatinge has established himself as the latest new writer I want to undermine and destroy. It’s just top class stuff.”
- Mark Millar (Kick-Ass, Civil War, Wanted, Ultimates)

"I think Joe is definitely one to watch."
- Robert Kirkman (Walking Dead, Invincible)

THE ALL-NEW ALL-DIFFERENT HELL YEAH

Over the weekend Rich Johnston’s BLEEDING COOL made the exclusive debut of this piece of teaser

I know folks say this a lot, but I gotta stress it: this issue’s a big one for a number of reasons. Yeah, it’s the first issue after the tradepaperback. Yeah, it’s a major jumping on point. Yeah, a lot of crazy shit goes down. There’s more to it than that.

I’ve always viewed the first storyline, LAST DAY ON EARTHS, to be a bit of an extended origin story for Ben. This next one, EVERYTHING YOU KNOW IS RIGHT, is very indicative of what the series will be like going forward. And it’s to a very different place.

I’ll put it like this, if LAST DAY ON EARTHS was the child of early 90s Image Comics, EVERYTHING YOU KNOW IS RIGHT is what happens when the kid grows up and is on their own. You’ll see what I mean when it hits in September.

However, there’s more to it than just that. As you can see from the above, the art looks a bit different than usual and radically different from the original version of the cover that got out online.

For comparison’s sake, here’s the original:

 

I like the original. It’s good, but I thought we needed to be great for #6. In a sense, it’s the books true beginning. This is the series I always envisioned doing. We needed it to be even better going forward.

So, first off, interior colorist Jason Lewis has taken over cover colors from Andre. Andre does a good job, but Jason’s been doing an increasingly amazing job on the interiors. It didn’t feel right to hide his work from people peeping the covers on the stands.

Second, you’ll notice a second name under Andre’s signature. That’s Fabio Redivo, who is now handling inks on the book - both on the cover and the interiors. Dude’s such an amazing fit for Andre. The combination of the two of them turn out something really great. 

I think Fabio and Jason working with Andre is making the book even better looking than ever before. Just check out this step-by-step breakdown of how they created the issue #6 cover.

First with Andre’s pencils…

Then Fabio’s inks…

and finally, for comparison’s sake, Jason’s colors (sans text).

Looking pretty good, huh?

With the art even better than before, I thought it was time I receive some additional help. One problem I run in with creator-owned comics is having a lack of an editor. At Image especially, there are no editors, so it’s up to you to self-edit. Regardless of all my experience with PopGun, One Model Nation and so on, I wish I had a different pair of eyes looking over my work and shepherding things along. Some people think having an editor on a creator-owned book is somehow a bad thing, but I know in my own experience editors have been an extremely valuable part of the writing process. I dig ‘em.

So, starting immediately, we have one. I’m bringing on iFanboy’s own Ron Richards to be that second pair of eyes. If you listen to iFanboy, you know Ron has one of the sharpest critical eyes in comics. That guy’s opinion goes a long way with me, so I’m thrilled to have him on board. In addition, the guy is one of my closest friends and was even in the room when Andre and I shook hands to do this book all those years ago. He’s someone I have no qualms trusting with my comics baby.

I gotta say I’m really stoked for the future of the book - now more than ever before. I feel like we’re really hitting a good stride with the new team. The pages coming in are the best the book’s ever looked and it’s feeling like we’ve locked this thing down.

Hell Yeah #6. September 2012. 

BE THERE! 

Nothing’s Impossible

Image Comics asked me to write about comics in a guest blog on their site, so I did.

It’s all about the ‘rules’ of comics or, really, the lack thereof.

Here’s an excerpt:

I became pretty jaded with comics after this, but continued to happily consume them. I began to understand there were rules here. Characters can never change too much. Covers weren’t literal. Villains never died forever. Heck, nobody really did.

Then there was 1992.

It was only a year or so before that I also understood comic books were made by individual human beings. They weren’t just born in a comic store like some sort of magic tomes generated from the ether. The first time was in Amazing Spider-Man #349, the Erik Larsen illustrated issue about Doctor Doom and Black Fox. His art style was so wildly different from the Spider-Man art I was used to that I took noticed. I then followed him through whatever he would do and quickly found what seemed to be similarly unique artists, like Todd McFarlane, Rob Liefeld, Jim Valentino, Jim Lee, Marc Silvestri and Whilce Portacio.

In 1992 that string of names jumped ship and formed Image Comics and again, I didn’t exactly get what was going on. For all intents and purposes they were just more comics published by the collective putting out Marvel and DC books. I didn’t quite distinguish lines just yet.

Then I read those books.

Everything changed.

Reblogged from lewisjasonr  6 notes
HELL YEAH colorist Jason Lewis also re-masters old covers for Marvel Comics. This one used to give me nightmares and I absolutely loved it. One of all-time favorites from my childhood. I love what Jason did here.
I remember being a kid and just taking images like this for what they presented on a literal level. I was convinced in this one issue that Spider-Man would die, then he would live out the rest of the run as a zombie. It also made me remembering reading the first of Art Adams/Walt Simonson’s three-issue run on Fantastic Four and being convinced the Fantastic Four was dead and that this was the team, both in the comic and creatively, who would take over the book from now on.
Not to turn this into a plug, but one of the things I want to accomplish with HELL YEAH is presenting insane situations and covers like these and, well, having it just be that. Not a twist, not representative of something else. It just is this insanely crazy situation with permanent repercussions. It’s our (Andre + myself) comic. We can do whatever the hell we want. 
lewisjasonr:

Cover I re-mastered from Spectacular Spider-Man 148.All artwork and characters ™ & © Marvel Entertainment. marvel.com

HELL YEAH colorist Jason Lewis also re-masters old covers for Marvel Comics. This one used to give me nightmares and I absolutely loved it. One of all-time favorites from my childhood. I love what Jason did here.

I remember being a kid and just taking images like this for what they presented on a literal level. I was convinced in this one issue that Spider-Man would die, then he would live out the rest of the run as a zombie. It also made me remembering reading the first of Art Adams/Walt Simonson’s three-issue run on Fantastic Four and being convinced the Fantastic Four was dead and that this was the team, both in the comic and creatively, who would take over the book from now on.

Not to turn this into a plug, but one of the things I want to accomplish with HELL YEAH is presenting insane situations and covers like these and, well, having it just be that. Not a twist, not representative of something else. It just is this insanely crazy situation with permanent repercussions. It’s our (Andre + myself) comic. We can do whatever the hell we want. 

lewisjasonr:

Cover I re-mastered from Spectacular Spider-Man 148.
All artwork and characters ™ & © Marvel Entertainment. 
marvel.com