Marvel Unveils Stunning Alex Ross MIRACLEMAN Variant Cover!

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@mypullist
Marvel Unveils Stunning Alex Ross MIRACLEMAN Variant Cover!
Meet Guest Curator Dylan Todd
What is it that drew you to the artform of comics?
I was born in 1977, which means that I grew up in a post-Star Wars world, where pulp and genre and comics-type stuff was thick on the ground. Saturday mornings were full of he-men and robots and guys with perms driving around in talking cars, jumping over ravines and what have you. I remember watching the Spider-Man & His Amazing Friends cartoon and The Incredible Hulk TV series and have vague recollections of the Spidey sections of The Electric Company. I had a dresser that my mom decoupaged over with Superman wrapping paper and practically memorized the Reeves' Superman movies. The first two, at least. Which makes the fact that I don't recall coming into contact with an actual comic until fourth grade all the stranger. I was spending the night at a friends' house and we'd played enough Nintendo for the night, so he pulled out a box of comics and suggested we read some of those. I remember he had a Jonah Hex and an Nth Man one? Maybe a He-Man one, too? In any case,
I was intrigued. He told me he got them at the 7-11 at the end of his street and the next morning, we walked down there and I bought an issue of Steve Englehart's Fantastic Four run -- issue #313, in fact, also featuring Sal Buscema art -- that was the single-most mind-blowing thing I'd ever read in my life. Just a weird melange of soap opera, sci-fi and fantasy, all delivered with the least amount of set-up possible that just begged for you to want to know more about these people and this world.
By the summer, I was spending every dollar I could on comics (and yeah, Slurpees) and was stapling pages together to create my own comics. (It's no surprise that I spent way more time designing the masthead and company logo than I did on the comic itself.) I just love the unfettered creativity and the ability comics give you to tell these weird, but also personal, stories. It's an almost limitless art form, where your only boundaries are the page itself and your imagination. That's kind of really awesome.
What makes a comic book stand out to you? For me, a good comic is one where the words and art come together and communicate a feeling or an idea. I'm not all that interested in house styles or continuity porn. My favorite comics are ones where they feel deliberate, like they need to be created rather than have to be created to fill shelves every month.
Who’s your favorite superhero and why? The Ever-Lovin', Blue-Eyed Idol of Millions, aka Benjamin Jacob Grimm, aka The Thing. Not only is he incredible visually, but the idea of a grumpy curmudgeon with a heart of gold, a gentle monster, has always struck me as one of the more beautiful things to come out of Jack Kirby's pencil.
What’s one of your favorite graphic novels and why? Besides the one I picked for Pullist, I'd have to go with Kevin Huizenga's Curses. It's a collection of short stories that deals with God, golf, trolls and those "missing child" fliers that arrive in the mail. Huizenga's playfulness and insight are the perfect blend for me, and his E.C. Segar-inspired linework puts a soft touch on the heavier subjects he tackles in his comics.
Any particular graphic novels coming out that you’re looking forward to? Paul Pope's Battling Boy is on top of my list. I'm also looking forward to the second big collection of Gerry Finley-Day and Dave Gibbons' classic 2000 AD series, Rogue Trooper, Tales of Nu-Earth 2 later this year. It's already out, but I need to get Jason's Lost Cat sometime soon. Ed Piskor's Hip-Hop Family Tree looks like it's going to be awesome. The second collection of Al Ewing and Henry Flint's Zombo, titled You Smell of Crime & I'm the Deodorant is coming out this fall and I'm very excited. Zombo is kind of my favorite thing right now. I recently read through the first collection, Can I Eat You, Please? as well as the latest storyline that was serialzed in 2000 AD, titled Planet Zombo, and man, this comic has it all: living death planets, pocket-sized black holes, suicide gangs, Fantastic Four pastiches, presidents who speak solely in Kirby-speak, killer priests, Walt Disney's frozen head and the polite-est zombie you ever did meet. I've also been rediscovering Kurt Busiek and Brent Anderson's Astro City with the relaunch of the title over at Vertigo, so I'm looking forward to picking up those collections again, after sadly parting with them when I was hard-up for cash a few years back.
So yeah, that's 2013 for me.
The start of my Fantastic Four sleeve by Myles Karr.
Meet Guest Curator Joshua Hale Fialkov
December's offer is live! Don't miss out on a great pick by the incredibly talented Joshua Hale Fialkov.
What is it that drew you to the artform of comics?
As a kid it was something my substantially older brother loved, that I latched onto for the reason kid brothers do that sort of thing. Pretty soon though, I was falling in love with the worlds that comics created. A lot of that was due to the bredth of imagination in the creators. But, simultaneously, I was getting introduced to anime and manga, and I was learning these two similar but very different languages of storytelling. That's something that's always reverberated with me.
Also, the Ninja Turtles were awesome, so, y'know... Who’s your favorite superhero and why?
Captain Marvel. The DC one. He represents what comics can and should be. It's the story of a little boy who has NOTHING. No family, no friends, no money, and no home, and, thanks to a little bit of magic, he gets ALL of those and more. The magic there is imagination, which, y'know, for me, is the real magic of comics.
What’s one of your favorite graphic novels and why? Probably Phil Hester and Mike Huddleston's Deep Sleeper. I read it regularly just to fee the depth of imagination in every single page. Those two together are the best creative team in comics, and Deep Sleeper is them firing on all cylinders. Any particular graphic novels coming out that you’re looking forward to? I'm probably most looking forward to rereading Locke and Key from start to finish in a few months when it's all done. I can't think of anything more fun than that.
Want to know which graphic novel Joe Keatinge hand picked this month? Order now! http://mypullist.com/
FF #14 unsolicited cover by Mike Allred
Meet Guest Curator Joe Keatinge
We're excited to announce that Pullist goes live on October 1st. This week, we had the pleasure of interviewing our first guest curator, Joe Keatinge, writer and creator of Hell Yeah. Keatinge is known for his work on the Popgun anthology and his upcoming Marvel Knight's Hulk.
What is it that drew you to the artform of comics? I have no idea. Comics have been around me my entire life. No one in my family read them, yet there's pictures of me as barely a toddler with comic books around. My best guess is that they were packaged together with Masters of the Universe toys and I had plenty of those. I can't recall the point I fell in love with comics -- I was too young, but I do know its been my number one love ever since. I read a ton of prose, I watch an ungodly amount of movies, I think narrative television is more interesting than its been in years, I'm obsessed with history, I've got a decent sized vinyl collection, but comics is the storytelling medium ruling my life both in terms of input and output. There's a lot driving this passion/obsession -- I think lately due to a growing appreciation for the absolute freedom you get in the medium. People have such a boner for making movies and thinking comics is a stepping stone to do so and I don't really get it, because it seems so fucking backwards. You can do anything with comics. It's the most primal, visceral link to artistic expression, one of the greatest bastions for unrestrained storytelling developed over the last one hundred years. With movies these days you need millions of dollars to produce, then millions more to market something to any sort of decent level of distribution, something that is more likely than not complete garbage because it's had the dicks of way too many people who don't know what they're doing slammed right into what was once possibly someone's artistic vision. And yeah, sure, there's a bit of that in comics too. Plenty of garbage comics are developed on committee. However,while I've got a bit of editorial and corporate oversight with my Marvel work, I've had an absolutely great time working there. And maybe I've been ridiculously lucky, because everyone I've dealt with at Marvel and even some people at DC have been nothing but fantastic to work with. Even when I don't agree with my Marvel editors and those few DC editors, I get what they're saying. I still fight for what I believe, but in the end, I feel the work's better for the collective voice. With what I do at Image? Forget about it. Nothing comes close in any other medium at any other company to what I do there in terms of pure artistic freedom, for good and bad. Like, on Hell Yeah, I was figuring out what to do with this freedom and maybe it would have been better if it had been a B&W series published by Eclipse or whoever instead of a full color ongoing series in the biggest year Image has ever had, but that led to Glory which led to everything else I'm doing. And with Glory? Ross and I had complete and unrestrained freedom. If anything, the guy that would have traditionally been the person to hold us back in the form of the owner, in this case Rob Liefeld, did the exact opposite and pushed us to keep pushing the book. What I'm getting at is if you have a story to tell, nothing beats comics. Just be sure you're creating comics to create comics. If you're creating comics to make a movie or a video game you're wasting everyone's damn time, whether it's your creative team or reader or anyone remotely involved. Just this morning I was looking at Tom Scioli's Satan's Soldier and the idea of a movie bores the shit out of me. It's so much more imaginative and interesting than any movie could ever hope to be. Or like, Lone Wolf & Cub. Those movies are fantastic. I particularly love the Shogun Assassin edit. But the comics? Infinitely better. If someone wants to make a movie or whatever out of what my collaborators and I do? Great, sure, whatever. The moment that takes away from me doing comics? Not going to happen. Not going to cross that Rubicon. Some people can make it work. I admire Robert Kirkman for being able to balance it with everything else and still writing two of my favorite comics (I've never enjoyed Walking Dead or Invincible more than I do now) and have his hand in a TV show that's really damn good. But still, all this said: in terms of storytelling mediums? Comics is The Greatest of All Time. That's why I love them more than any other. What makes a comic book stand out to you? I've been kind of obsessed with Soderbergh's recent San Francisco International Film Festival State of Cinema talk for a number of reasons. I think a lot of it applies to any commoditized art form, of which comics is obviously one. The notion applicable here is how he defines the term 'Cinema'. To quote, "The simplest way that I can describe [Cinema] is that a movie is something you see, and cinema is something that's made," and further, "[Cinema] isn’t made by a committee, and it isn’t made by a company, and it isn’t made by the audience. It means that if this filmmaker didn’t do it, it either wouldn’t exist at all, or it wouldn’t exist in anything like this form." And for good and bad. He admits this means there's plenty of bad 'Cinema.' Regardless, those are the types of comics that enthrall me. The stuff that wouldn't exist without the authors existing. Hugo Pratt's Corto Maltese. Howard Chaykin's American Flagg. Gabriel Ba, Fabio Moon & Matt Fraction's Casanova. Moebius' Aedena Cycle. Michael & Laura Allred's Madman. Los Bros Hernandez's Love & Rockets. Naoki Urasawa's 20th Century Boys. Erik Larsen's Savage Dragon. Blutch's So, Long Silver Screen. Winsor McCay's Little Nemo in Slumberland. Fiona Staples & Brian K Vaughn's Saga. Brandon Graham's Multiple Warheads. Frank Miller's Ronin. Jim Rugg's Afrodisiac. Jack Kirby's Kamandi. Al Columbia's Biologic Show. Katsuhiro Otomo's Akira. Tom Scioli's American Barbarian. Ben Marra's… everything, really. There are even a number of Big Two books falling underneath this too -- classics like Frank Miller, Klaus Janson and Lynn Varley's Dark Knight Returns, Doug Moench & Paul Gulacy's Shang Chi, Master of Kung Fu, Jim Starlin's Warlock or more modern titles like David Aja & Matt Fraction's Hawkeye or Absolutely Anything Sara Pichelli Is Drawing. Not only would this stuff not exist without its authors, but they all push what the medium is capable of -- show that all that's gone before is merely what's gone before and that its maximum potential is infinite, limited only by imagination. Who’s your favorite superhero and why? Savage Dragon. No contest. I've been reading that series on a (kind of sometimes mostly) monthly basis since the first issue dropped in 1992. The series itself is one of the most disgustingly under appreciated cartooning achievements in the last twenty years or so. The fact Larsen doesn't get enough credit for not just the sheer amount of work, but the constant experimentation going on is really a damn shame. The newest issue has a digest version coming out. Why? Just to see what would happen. Some issues have been drawn in a Euro-style, some with panels counting down until the end, some all over the place all built around a mythology unparalleled in a single creator comic since Cerebus or Gasoline Alley. We've seen characters born, age, die -- it's really a huge achievement. I wish it had a more consistent backlist program so people could get on board with much more ease. In the meantime, Dragon's son Malcon is taking over the book with issue 193 and my understanding is you can get into it without having read a single issue, so get on that. What’s one of your favorite graphic novels and why? The one I'm curating for Pulllist. I'm guessing I'm not to say what it is at this point, but it's my number one Go To when someone asks, "what's the deal with comics? What should I be reading?" It definitely falls under that list of comics I mentioned earlier -- something that wouldn't exist without its authors. Something that really pushes what comics are. Furthermore, it's a brilliant illustration of the power of comics collaboration -- when artist and writer work in simpatico to create something that wouldn't exist if only one of them were alive. Any particular graphic novels coming out that you’re looking forward to? I was lucky enough to get an advance copy of Paul Pope's Battling Boy and I'm really looking forward to that knocking everyone on their ass. Likewise, I'm looking forward to the impending explosion of James Harvey. Yeah, there's a bias there because we're working on a mini-series together, but I'm telling you in two-three years that guy is going to be massive. I just look at what he's doing on Masterplasty and Zygote and they are so damn good they revive the horribly cliched term, 'next level.' Dude's from another planet. Comic Books, James Harvey is Your Future.
Meet guest curator Benito Cereno
We're hard at work and excited about the caliber of guest curators who are coming on board to handpick the graphic novels you'll be receiving each month. This week, we had the pleasure of interviewing one of these amazing guest curators -- Benito Cereno, writer and creator of Tales from the Bully Pulpit and Hector Plasm. Stay tuned for more interviews and news on our launch.
What is it that drew you to the artform of comics? Comics have always been a part of my life. My mom basically taught me to read from the newspaper comics page. I ruined my eyes at age six reading Archie comics in the dark when I was supposed to be sleeping. I've literally never wanted to do anything else with my life, except for a brief period in elementary school when I wanted to be a detective, until I realized I just wanted to be Sherlock Holmes specifically.
So part of what draws me to comics is a desire to be part of the medium that has been such an important part of my life, but the great allure of comics is its near infinite potential in terms of genre, storytelling, tone, and format (compare, say, a single panel Family Circus strip with Craig Thompson's Habibi. It's like they're not even from the same planet). Comics can do anything, without budget worries, and even corporate comics have less editorial interference than most studio movies. You can get a pure, unadulterated authorial vision from a single voice, OR, something which is often even better, the synergy of two or more strong voices working together in perfect collaboration. It's visual, lyrical, moving, almost pure OOMPH. Comics, man.
What makes a comic book stand out to you? I like comics where you can feel the creator or creators are putting something of themselves in it. I mean, any creator of any art form does this to a degree, but when it really happens, you can feel the difference. In a collaboration, I like to see a book where you can tell the creators are really challenging each other in such a way as to bring out their best work. This kind of intangible quality brings a warmth and a zip to storytelling that you don't always get from more, shall we say, mercenary projects.
On a more tangible level, I like comics that aren't afraid to be weird, and embrace comics' bizarre history while at the same time pushing into the future. Embrace what's good about the past, but reject what's bad and look to what's coming. Push boundaries, experiment, but I also look for strong fundamentals of storytelling, good facial acting, intelligible and dynamic layouts, and also the courage and good sense to let the visuals tell as much of the story as possible.
Who’s your favorite superhero and why? The easy answer is Superman, as he's a figure of hope, an aspirational figure, who, despite his great reservoir of power, shows again and again that his greatest gift is his ability to inspire the best in other people. He also has a dog with a cape and a city full of tiny people in a bottle. That's pretty baller. But naming literally the most famous superhero in the world does not really get across my passion for the deep cuts, so:
I really love Metamorpho, especially as portrayed in his original series by Bob Haney and Ramona Fradon. It's just such a perfect melting pot of everything great about superhero comics and also the 1960s: evil scientists! aliens! unfrozen caveman bodyguard! groovy chicks! surfing! really tenuous grasps of science! a guitar that shoots lasers! Blue blazes, I love that wiggy element freak, by Jasper.
I also really like the Creeper, Aquaman, She-Hulk, Big Barda, everyone in the Doom Patrol (especially Robotman, but ESPECIALLY Mento), Kylun, Plastic Man, Captain Marvel (the original one), Stardust the Super-Wizard, Jack Staff and basically his entire supporting cast, Madman, and just tons more.
What’s one of your favorite graphic novels and why? I'll try to limit myself to one this time. One of my all time favorite books is Pulpatoon Pilgrimage by Joel Priddy, published by AdHouse Books in 2002. It's the story of a robot, a plant-man, and a minotaur who all run into each other on a quest to find...something. The talk on their way, about the nature of life, sex, family, love, and everything, getting to know each other and themselves. Joel is just an absolutely masterful cartoonist, and his renderings of these unusual figures in front of these sprawling, empty vistas really hammers home just how strange and sad it is even to be alive. Plus, you'll never hear the song "Froggy Went A-Courtin'" the same way again; you'll cry every time.
Any particular graphic novels coming out that you’re looking forward to? I'm probably most looking forward to Hellboy: The Midnight Circus by Mike Mignola and Duncan Fegredo. Hellboy is probably my all-time favorite series, and as stoked as I think we all were to see Mignola come back to drawing the main Hellboy series, Fegredo had done such great work on the book that it was a shame to see him go. And so, I'm very excited that they're collaborating on this book, especially one taking inspiration from freaky early 20th century circuses. The last Hellboy OGN, House of the Living Dead, was really great, so I have high hopes for this one.
Tales of Suspense #58 (Oct. 1964)