Podcasts about Kitchen Sink Press

And now a reposting of this rambling and too brief history of Kitchen Sink Press, as the independent publisher continues to make its mark in the comic book industry before sadly declining.  

And now a reposting of the first part of this rambling and too brief history of Kitchen Sink Press, one of the great independent publishers in comic book history.

This week, in Episode #688, Wayne talks with Denis Kitchen, who has been taking on the establishment for decades. Now, an all-new documentary, Oddly Compelling, highlights Kitchen's thirty years as one of the most important independent comic book publishers and his work as a fierce advocate for the First Amendment. Denis founded Kitchen Sink Press in 1969, and for more than 30 years, he published many of the most prominent and innovative creators in comics. Now, filmmaker Soren Christiansen and Ted Intorcio have captured hours of in-depth, candid interviews with Denis and many of his fellow cartoonists and colleagues. You can sign up now for the Kickstarter for Oddly Compelling, which is at this link. We talk about Denis's career and this documentary that explores his creativity and passion for the First Amendment as well as how this film has come together. You can still sign up for this film today so you can be kept up to date with this Kickstarter project, which will begin soon! Don't miss it! Subscribe to the Major Spoilers Podcast Network Master Feed! Major Spoilers Podcast Network Master Feed RSS Feed Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patreon member. It will help ensure Wayne's Comics Podcast continues far into the future!

Denis Kitchen is the subject of an upcoming documentary. The longtime cartoonist and publisher of  Kitchen Sink Press tells stories about Harvey Kurtzman, Will Eisner and other legendsd he worked with, plus the founding of the comic book legal defense fund. 

This week the gang have fun talking about a lot of comics. Some would say a megaton of comics, and who better to talk about indie comics publishing and superhero parodies than Don Simpson, creator of Megaton Man! From his roots and interactions with comic creative legends, missed reprint opportunities and the new collected edition of his cult superhero parody. Theres also talk of great comics to check out and a dramatic reading of a comic that will shake the very foundations of the comics industry. Great stuff to check out this week - Don Simpson, Megaton Man, Zoop, The Collected Megaton Man, Fantagraphix, Kitchen Sink Press, Anton Drek, Wendy Whitebread, Eros Comics, Mugshots, Vicarious, Mean Girls Club, Drink and Draw, Star the Shadow, Pat Mills, Ken Reynolds, Avery Hill Publishing, The Green Archer, Mad Cave Comics, Dead Body Trade, Omelette of Power, Nick Gonzo, Stupid, Paul Kortjohn, G.I.Joe, Truck Mutts, Ian Mathews

The ACP set themselves a reading challenge earlier this year. Trying books, series and moments in comic book time that they had not experienced before. For this fun exercise they roped in Tom Curry and Eamonn Clarke (Mega City Book Club) to do the same, and the result is a whole ton of amazing comic talk. From manga classics and epic comic movements to series since adapted for tv and classic graphic novels from critically acclaimed creators, this one has it all. With lots of recommendations as well this is nothing but talk about comics you should be checking out, so don't blame us for being broke after buying so many comics! Great stuff to check out this week - Mega City Book Club, Eamonn Clarke, Tom Curry, The Boys, Darrick Robertson, Garth Ennis, Golgo 13, Viz Media, Berserk, Kentaro Miura, DC Comics, The New 52, Black Hole, Charles Burns, Kitchen Sink Press, Fantagraphix Books, Mark Abnett, You Get What You Get, David Roberton, Cullen Bunn, Omega Black, Zack Cahill, Printopia, Bob Fingerman, Junkyard Joe, Early Gigs:Underground Comics 1970-1973, Dave Gibbons

Raconteurs et raconteuses, bienvenue dans La Machine à écrire, le podcast de celles et ceux qui créent des histoires. Dans ce nouvel épisode, nous recevons les scénaristes du film Le Règne animal.Avec plus d'1 million de spectateurs en salle, 12 nominations aux Césars et 5 statuettes remportées, Le Règne animal a su mettre d'accord les critiques, le public et la profession. À la croisée des genres, le film est le fruit de la rencontre entre une jeune scénariste en fin d'études et un réalisateur-scénariste remarqué travaillant sur les mêmes thèmes. Avec eux, nous revenons sur cette collaboration et sur les différentes étapes de fabrication de ce long-métrage.Notre premier invité est le scénariste et réalisateur Thomas Cailley, dont la carrière a décollé brusquement avec Les Combattants. À sa sortie, le film remporte les 3 prix de la Quinzaine des réalisateurs à Cannes, ainsi que le César du meilleur premier film. Par la suite, on retrouve Thomas au scénario de la série Trepalium, du film Ami-ami, et derrière la caméra pour la série de science-fiction Ad-Vitam sur Arte. Alors qu'il participe au comité de lecture de la Fémis, il remarque le travail de fin d'étude de notre seconde invitée, Pauline Munier. Le scénario parle déjà d'un père et d'un fils dans un monde où certaines personnes se transforment en créatures… Cela va être le point de départ d'une aventure cinématographique que nous allons revivre avec eux. Alors, comment s'est faite l'écriture du Règne animal ?Comment le projet initial de Pauline a-t-il évolué après l'arrivée de Thomas ?Comment s'est passée leur collaboration ?Comment ont-ils mélangé les genres et les thèmes sans perdre le spectateur ?Les films de genre ont-ils enfin trouvé leur place en France ?C'est à toutes ces questions et à bien d'autres que nous répondons dans cet épisode.Voir Le Règne animal sur MyCanal.S'abonner à notre newsletter 5 Bonnes Histoires le vendredi. Les œuvres citées dans cet épisode :Le Dernier des Mohicans de Michael Mann et Christopher Crowe (1992)Un monde parfait de Clint Eastwood et John Lee Hancock (1993)À bout de course (Running on Empty) de Sidney Lumet et Naomi Foner (1988)Black Hole de Charles Burns (1995-2005, Kitchen Sink Press et Fantagraphics)La Mouche de David Cronenberg et Charles Edward Pogue (1986)Il était un père de Yasujirō Ozu, Tadao Ikeda et Takao Yanai (1942)The Killing de Søren Sveistrup (2007-2012)Sympathy for Mister Vengeance de Park Chan-wook, Lee Jae-sun, Lee Mu-yeong et Lee Yong-jong (2002)Old Boy de Park Chan-wook, Hwang Jo-yun, Lim Chun-hyeong et Lim Joon-hyung (2003)Lady Vengeance de Park Chan-wook et Jeong Seo-kyeong (2005)Les Éblouis de Sarah Suco et Nicolas Silhol (2019)Crédit photos : Léa Schneider / @lea__scNous suivre sur les réseaux :Instagram : @podcast.lamachineaecrire Facebook :@podcast.lamachineaecrireX / Twitter : @lmae_podcast  Threads : @podcast.lamachineaecrireA propos : Cet épisode est consacré à la narration et l'écriture de scénarios de films. Que vous soyez un débutant curieux de savoir comment écrire un film, ou un scénariste expérimenté cherchant à peaufiner votre technique, ce podcast est fait pour vous. Nous y abordons les fondamentaux de la structure d'un scénario, les astuces pour développer des personnages, et les stratégies pour captiver une audience. Vous allez découvrir comment transformer une idée en un scénario captivant et apprendre les étapes essentielles pour faire de votre vision cinématographique une réalité. Si vous vous demandez comment écrire un scénario, comment écrire un film, ou même comment faire un film, cet épisode lève le voile sur les secrets de l'écriture cinématographique.

Diabolu Frank, Illegal Machine, and Mr. Fixit go back to the Dark Age of deconstructionist super-heroics under the pen of Roarin' Rick Veitch, specifically his incendiary work Bratpack from 1990, with a side of 1992's The Maximortal, both published by Tundra (& Kitchen Sink Press.) Then Frank has a solo rant at the end where he summarizes 1985's Epic series The One (which almost certainly influenced Watchmen), before tearing into Don Simpson's 1990 Bizarre Heroes one shot & 2023's X-Amount of Comics: 1963 (WhenElse?!) Annual from Fantagraphics. Episode Gallery On Barry Blair, Founder of Aircel Comics by Don Unger Swamp Thing #88 script & partial art at 20th Century Danny Boy Friend us on Facebook Thumb through #UnderGuides Roll over our tumblr Email us at rolledspinepodcasts@gmail.com Tweet us as a group @rolledspine, or individually as Diabolu Frank & Illegal Machine. Fixit don't tweet. The Under Guides Graphic Novel Podcast Blog Rolled Spine Podcasts The Under Guides Graphic Novel Podcast, 1980s, 1990s, 2020s, Alan Moore, Comic Books, Fantagraphics, IDW, Marshal Law, Rick Veitch, Don Simpson, The One, Bratpack, The Maximortal, Epic Comics, Tundra, Kitchen Sink Press

Robbie Lopez grew up poor and idolized Tom Savini, he always knew he wanted to be an artist. When he was 13 and was accepted into the Tom Savini School of Special FX with a scholarship he was elated but soon, crushed when he realized his family still couldn't afford the $40,0000. Robbie gave up on that pathway to becoming an artist. But he drew constantly and was supported by his art teacher who kept his art, that he'd thrown away over the years. She even helped him print out his comic strips and had them put in ‘zines that were distributed through the coolest places in town. He was just 14 years old. A year later, Robbie got a letter from Kitchen Sink Press out of San Francisco, an adult comic publication, he became a paid illustrator. He drew comics he wouldn't have been old enough to buy. Then he took his first check and moved out, his first place he had roommates, two 30 year olds and he drew tattoos for them. That's when Robbie got into tattooing. He worked for a parlor for a year and later travelled the world tattooing. Robbie's first feature was about his comic book company, Crude Comics and Cinema. The dream was to make animated movies but it was too expensive and too much effort so he changed direction to features, the first was called Texas Death Trippin'. It was filmed on a road trip and is only the second film created on a road trip, (the other is National Lampoons Vacation) it was a two week trip, with 19 people. He talks all of the trials and tribulations of the film industry including his time working on Troma's Mulligan's Monsters series. By his third feature film, it all starts coming together, it will be out on September 26th, 2023! Then another film, Protege Moi will be released in October, plus an accompanying game. Robbie is also going to be making a sequel to Critters 2 called Critters: All You Can Eat! It takes place 35 years after Critters 2. (This is a SAG approved production.) He talks all about who might return from the originals, pre-production, including building crites which is inspired by the Chiodo brothers' design. And you can be a part of it too! Help us get the funding to get it feature length. https://www.indiegogo.com/projects/critters-all-you-can-eat--2/x/29269334# Let's support our indie filmmakers to get the movies made we want to see. Even if you only buy a pre-order, that goes a long way! Also, our Carlos is on his second fundraiser for Duck and Cover, a zombedy! Click the link and help him out too! Every dollar helps. https://www.indiegogo.com/projects/duck-and-cover-production-fund/x/29269334#/ Find Robbie Lopez and his comics and releases here: https://crudecomicsinc.com Critters Instagram: https://instagram.com/critters2024?igshid=MzRlODBiNWFlZA== CrudeComicsCinema Instagram: https://instagram.com/crudecomicscinema?igshid=MzRlODBiNWFlZA== And find the rest of us: Carlos Ibarra on IG @jekyl6669 and https://www.fillintheblanksproductions.ca/ Christopher Thompson on IG @theauthor__ and mastodon @https://mastodon.world/@WestReAnimated Kimberly at http://www.macabreish.com and IG and Tiktok @macabre_ish. https://linktr.ee/macabre_ish

The latest episode of The Queens Comic Podcast is now live! In this latest episode, Billy and Ian jump into a look at Kitchen Sink Press' Snarf #2 with their underground of the week, before Billy confesses his love of vampirefreaks.com. This is followed by a look at Ken Landgraf's New York City Outlaws #3 (which features a guest appearance from Jon Mikl Thor!), some thoughts on Renegade Press' Manimal #1, Steve Ditko's Mister A, Peach Momoko's X-Men work and NYCC experience, Verotik's Devilman #1, Charles Burns' Facetasm, a great vintage issues of Challengers Of The Unknown with Deadman, the recent issue of Vampire Macabre by Frank Forte and Tim Vigil, Johnny Ryan's What Are You Lookin' At?, Ian Cinco's Neon Spring and Erratica collection, Hellboy and, last but not least, The Life And Times Of Scrooge McDuck. It's a whole lot of disjointed comic talk and it's all for you, absolutely free! Follow us on Instagram @queenscomicpodcast http://www.queenscomicparty.com #queenscomicpodcast #queenscomicparty #iancinco #timvigil #donrosae #scroogemcduck #disney #dccomics #hellboy #newyorkcityoutlaws #snarf #undergroundcomics #kitchensink #peachmomoko #manimal #indiecomics #marvelcomics #comicbooks #comics #comicpodcast

Episode Notes Join us as we dive into the mind on Comic book artist Michael A Baron. Mike is an American comic book writer. He is the creator of Badger and the co-creator of Nexus with Steve Rude. And his newest project Smoke the Fox Now you can show your support by purchasing FB stars. Send stars to the stars fb.com/stars This episode is sponsored by Deadly Grounds Coffee "Its good to get a little Deadly" https://deadlygroundscoffee.com ————————————————— https://www.stilltoking.com/ Check out Toking with the Dead Episode 1 https://www.youtube.com/watch?v=awhL5FyW_j4 Check out Toking with the Dead Episode 2 https://www.youtube.com/watch?v=SaUai58ua6o Buy awesome Merchandise! https://www.stilltoking.com/toking-with-the-dead-train https://teespring.com/stores/still-toking-with Sponsorship Opportunities https://www.stilltoking.com/become-a-sponsor or email us at bartlett52108@gmail.com thetokingdead@gmail.com ————————————— Follow our guest https://en.wikipedia.org/wiki/Mike_Baron https://www.facebook.com/michael.a.baron.7/ https://twitter.com/bloodyredbaron https://www.marvel.com/comics/creators/5178/mike_baron https://l.facebook.com/l.php... ————————���———————— Follow Still Toking With and their friends! https://smartpa.ge/5zv1 https://thedorkeningpodcastnetwork.com/ ————————————— Produced by Leo Pond and The Dorkening Podcast Network https://TheDorkening.com Facebook.com/TheDorkening Youtube.com/TheDorkening Twitter.com/TheDorkening Dead Dork Radio https://live365.com/station/Dead-Dork-Radio-a68071 Check out Green Matters: https://www.facebook.com/GreenMattersMiddleboro/ More about our guest Mike Baron entered the comics industry with an illustrated text piece in Weird Trips Magazine #1 (March 1974) published by Kitchen Sink Press. In 1981, he published his first formal comics script with Nexus, the science fiction title he co-created with illustrator Steve Rude; the series garnered numerous honors, including Eisner Awards for both creators. A prolific creator, Baron is responsible for The Badger, Ginger Fox, Spyke, Feud, and many other comic book titles. He and artist Jackson Guice relaunched The Flash in June 1987.Baron and Klaus Janson introduced the character Microchip as an ally of the Punisher in The Punisher #4 (November 1987). In 1988, Baron wrote the "Deadman" feature in Action Comics Weekly which led to two subsequent Deadman limited series. Baron has also written numerous other mainstream characters including Batman and several Star Wars adaptations for Dark Horse Comics. In 2014, Baron published Biker, his first novel, about reformed motorcycle hoodlum Josh Pratt. First in the 'Bad Road Rising' series. In 2018, Liberty Island Press will release six Josh Pratt novels, and Disco, a story about a boy and his dog. He has created Q-Ball, a comic about martial arts and espionage, with Barry McClain Jr.

The ACP gets a convention report from the floor of New York Comic Con 2022! Well, kind of. Tony has been there and called the rest of the gang to talk about the sights and comics joy from the show. Theres discussion of artist alleys, publishers, creator interactions, podcast meetups and so much more! Great stuff to check out this week - New York Comic Con 2022, Eleven O'Clock Comics, Cliff Cumber, Martin Simmonds, Jae Lee, Bullet Adventures, Kia Wordsmith, Hull Comic Con, Kitchen Sink Press: the First 25 Years, Dennis Kitchen, Lise April Amelia, Dingus Click here to buy comics from the creators of the Awesome Comics Podcast! Let us know what you think! Email: awesomecomicspod@gmail.com  Join the discussion today at our facebook group Awesome Comics Talk Check out the folks who sponsor this lil show - the mighty folks at Comichaus! If you love our Intro/Outro music, then check out the brilliant Chad Fifer and more of his musical badassery at www.chadfifer.bandcamp.com

Si je vous dis 1981, vous pensez peut-être à l'abolition de la peine de mort. Et bah pas pour tout le monde, et surtout pas les tyrans intergalactiques ! DREAM IN BLUEEn matière de bande dessinée, et de Pop Culture au sens large, briser les codes est un défi constant et bon nombre d'auteurs s'y sont surtout cassé les dents ! Ainsi, quand en 1981 débarque Nexus, de Mike Baron et Steve Rude, chez Capital Comics, il est fort probable que quelques malheureux n'y aient absolument pas prêté attention. Après tout, des histoires avec types en moule-burnes qui volent dans l'espace et balancent des rayons lasers à tour de bras, il y en a plein ! Et puis, à l'heure où Frank Miller pousse Daredevil dans ses retranchements de super-héros urbain, confronté à une société gangrénée par le crime, qui s'intéresse encore à ces histoires de planètes lointaines et de vaisseaux spatiaux ? Bon, okay, là, je suis totalement de mauvaise foi, car on est seulement quelques mois après la sortie de L'Empire Contre-Attaque, mais, revenons-en à Nexus. Si les androïdes rêvent de moutons électriques, de quoi peuvent bien rêver les super-héros cosmiques ? Et bien de dictateurs à renverser, évidemment !Horatio Hellpop, alias Nexus reçoit, lors de mystérieux rêves, la mission d'éliminer divers despotes sanguinaires et autres meurtriers de masse sévissant dans l'univers. N'étant libéré de ces angoissantes visions nocturnes qu'une fois la tâche accomplie, il peut cependant compter sur une colossale puissance pour parvenir à ses fins. Au fil de ses aventures, il ramène avec lui plusieurs réfugiés fuyant ces dictatures fraîchement renversées sur la lune d'Ylum, son sanctuaire, qui se transforme peu à peu en une société multiculturelle. Nexus va donc, au fur et à mesure qu'il fait tomber les régimes totalitaires, fonder sa propre nation et être contraint à jouer ponctuellement les chefs d'états, alors qu'il n'en a absolument aucune envie. Les réfugiés d'Ylum, qui voient en Horatio un sauveur tout puissant, placent de grands espoirs en sa personne, et tout en le respectant, attendent aussi de lui qu'il les représente et les écoute, quitte parfois à lui imposer une forme de pression populaire comme on pourrait le faire avec un homme politique. En plus de ce statut de leader non désiré, notre héros doit composer avec les terribles cauchemars récurrents qui désignent ses prochaines cibles et toute une série de menaces toutes plus étonnantes et vicieuses les unes que les autres, mais je vais y revenir un peu plus tard ! Car avant d'explorer en détails certains concepts de l'univers de Nexus, il me faut bien évidemment vous présenter les deux artistes derrière celui-ci ! Né en 1949 dans le Wisconsin, Mike Baron commence sa carrière dans les années 1970 en écrivant des nouvelles de science-fiction avant de faire ses premiers pas dans l'industrie des comics chez Kitchen Sink Press, dans le premier numéro de Weird Trips Magazine, consacré à, je cite : “la drogue, le sexe, l'occulte et les OVNIS”. Au fil des ans, il a travaillé pour de nombreux éditeurs et créé un paquet de personnages originaux. Parmi ses travaux les plus populaires, on peut citer le super-héros The Badger, dont les aventures mêlent politique et écologie sur un ton qui oscille entre drame et parodie du genre. Chez Marvel, il développera largement le background du Punisher, et travaillera ponctuellement sur des héros comme Batman ou Deadman chez DC Comics. Steve Rude est également né dans le Wisconsin, en 1956. Son style reconnaissable entre mille, héritage d'une bande dessinée typiquement américaine et de l'illustration d'actualité et publicitaire de la première moitié du XXème siècle se rapproche, par certains aspects, des productions européennes. À mi-chemin entre des dessinateurs italiens comme Aurelio Galleppini ou Raffaele Carlo Marcello et l'école de la ligne claire de Hergé. Rude va, tout en consacrant une grande partie de son temps à Nexus, réaliser une multitude de variant covers pour les éditeurs américains. Très attaché à son justicier cosmique, il entretient depuis longtemps maintenant le projet d'une adaptation animée pour laquelle il n'existe jusqu'à présent qu'une courte bande promotionnelle de 2 minutes. TURNING POINTAvec le recul des années, Nexus représente un véritable tournant pour la thématique super-héroïque dans la bande dessinée indépendante américaine. Contrairement à l'impression que pourrait nous donner certains discours, le comic book indépendant n'est pas né avec Image Comics au début des années 1990, et encore moins avec des succès plus récents comme The Walking Dead. En fait, on peut même affirmer que le comic book indépendant a pratiquement toujours existé aux États-Unis, tout simplement parce que son statut varie en fonction du marché que l'on qualifiera de mainstream, et majoritairement porté par Marvel et par DC. Si on pourrait se risquer à considérer certaines publications EC Comics et les Bibles de Tijuana comme des formes de comic book proto-indé, car en réelles opposition avec les codes établis, et même carrément hors-la-loi dans certains cas, c'est surtout dans la deuxième moitié du XXème siècle que l'on assiste à une véritable explosion des productions dites underground. Dès les années 50 grâce à l'influence du magazine Mad, bien entendu, mais aussi dans les années 60 et 70 avec des figures reconnues comme Art Spiegelman, Trina Robbins, ou encore Robert Crumb ! Inspiré par la contre-culture, les cartoons, la drogue, ou encore la libération sexuelle et employant surtout un ton beaucoup plus cru et personnel que ce qui pouvait être présenté aux lecteurs de l'époque. Et c'est sans compter sur l'influence des artistes internationaux sur le marché américain. En 1975, les français de Métal Hurlant vont montrer un autre visage de la bande dessinée européenne, loin de l'asexué Tintin et des personnages à gros nez d'Astérix et Obélix. Et deux ans plus tard, le magazine britannique 2000 AD va enfoncer le clou en proposant des récits survitaminés réalisés par une génération d'auteurs dont le cynisme et l'acidité vont totalement révolutionner les productions américaines dans les années qui vont suivre. Tout ça pour vous dire que, déjà à cette époque, la bande dessinée a été triturée dans tous les sens et c'est de plus en plus compliqué d'espérer innover dans ce medium. Alors comment et pourquoi Nexus peut-être considéré comme un aboutissement du genre ? Et bien premièrement en se nourrissant des classiques de la science-fiction tout en se payant le luxe d'être en avance sur son temps. En s'inspirant du travail d'artistes comme Alex Toth, Jack Kirby ou Wally Wood, des comic books de science fiction des années 1950, et même plus largement des références incontournables de la SF, tous supports confondus, de Flash Gordon à Star Trek, Rude et Baron font de Nexus une sorte de space opera super-héroïque ultime. Le résultat est à mi-chemin entre l'univers coloré et un brin désuet les pulp's et un pot-pourri de concepts et de fulgurances créatives héritées des courants artistiques et de la libération des mœurs des 70's.  J'ai aussi vu chez Nexus une critique de l'interventionnisme typique des États-Unis. Cette habitude qui consiste à aller foutre la merde dans un endroit où la situation était déjà bien pourrave, sous prétexte d'y jouer un rôle de libérateur en mission divine, mais principalement pour servir des intérêts économiques et géopolitiques, quitte à tout bonnement abandonner la population locale à son triste sort une fois l'objectif initial atteint. Dans les comics de super-héros, c'est quelque chose que l'on va par exemple retrouver chez les Avengers de Marvel, et que Warren Ellis poussera à son paroxysme pour mieux le parodier dans sa série The Authority à partir de 1999, dans laquelle on suit un groupe de surhommes renversant les dictatures à tours de bras, sans se soucier des conséquences à l'échelle mondiale. Alors, je ne sais pas si Rude et Baron ont réellement pensé les missions de leur exécuteur intergalactique comme une parabole de l'interventionnisme yankee, mais le statut quasi-messianique de Nexus, tant dans la façon dont il se voit attribuer lesdites missions que dans l'attente des peuples opprimés envers lui, y font écho d'une façon où d'une autre. L'autre point remarquable dans Nexus, c'est que tout en s'appropriant une partie des codes classiques que genre super-héroïques, notamment via le costume de son héros, la série permet pourtant à celui-ci de transgresser l'une des règles maîtresses respectée par la majorité des justiciers costumés à l'époque : on ne tue pas. Car oui, de Batman à Superman, en passant par Spider-Man ou Daredevil, les super-héros ont une règle d'or : ils ne tuent pas. C'est comme ça ! FOR WHOM THE BELL TOLLSHéritée des restrictions du Comics Code Authority, ce principe est d'autant plus intéressant à étudier quand on se souvient que les États-Unis sont l'un des rares pays occidentaux à encore appliquer la peine de mort dans certains états. Étrange paradoxe, donc, que de faire appel à des super-justiciers symboles de l'échec d'un système judiciaire et social dépassé par la criminalité, tout en leur demandant d'appliquer une justice plus clémente que celle en vigueur en temps normal. Si cette règle à tendance à disparaître dans les années 1980, pour pratiquement s'inverser dans la décennie suivante qui fait la part belle aux anti-héros ultra-violent comme Spawn ou Wolverine, Nexus fait partie des premiers exemples de personnage traité comme un héros alors qu'il est ouvertement chargé d'exécuter des êtres vivants. Certes, ceux qui lui sont désignés comme cibles dans ses rêves sont les pires ordures de la galaxie, et on a un peu de mal à ressentir de l'empathie pour eux, mais il n'empêche que tout cela nous renvoie à des débats bien réels et encore actuels autour de la peine de mort, y compris en France, alors qu'elle a été abolie chez nous il y a plus de 40 ans ! Attention, l'angle adopté par la série n'a rien à voir avec un débat de comptoir au PMU du coin, puisqu'ici on s'intéressera plus aux états d'âmes d'un bourreau désigné malgré lui par une puissance supérieure que sur ce qui justifierait ou non la mise à mort de quelqu'un pour ses crimes. Comme dans les missions conférées par son statut de chef d'état quasi-accidentel, Horatio Hellpop doit parfois faire face aux attentes des opprimés quand il endosse le costume de l'exécuteur Nexus. Sauf que l'on comprend qu'il ne prend aucun plaisir à tuer et que cette action lui permet avant tout de se libérer de ses effrayants cauchemars. Aussi, être sollicité pour devenir une sorte de tueur à gages, et ça même si on lui demande d'éliminer quelqu'un de vraiment mauvais, va s'avérer être en totale opposition avec ses principes moraux. Car c'est bien de morale et d'héritage dont il est question dans la série de Mike Baron et Steve Rude. Quels paramètres poussent le héros à redéfinir ses propres limites en fonction des situations et de son histoire personnelle et familiale ? Comment doit-il gérer son statut non-désiré de justicier et de leader, et surtout, comment va-t'il y arriver sans renier ses principes et ses engagements ? Autant de questions qui donnent un ton politique, social, mais aussi fondamentalement humain à cette série, lui permettant de rester pertinente plusieurs décennies après la parution de son premier numéro. Et, il est bon de le préciser, Nexus recevra pas moins de 6 Eisner Awards entre 1988 et 2008, attestant d'une reconnaissance évidente et solide du travail de ses auteurs. Comme nous le savons tous, ce qui définit réellement un super-héros, et plus largement un personnage de comic book, ce ne sont ni ses incroyables pouvoirs, ni une puissance illimitée qui lui permet de surpasser le commun des mortels, mais bel et bien les enjeux moraux, sociaux, et parfois psychologiques qui se cachent derrière son costume bariolé. Et sur ce point, Nexus fait carton plein. Mais rassurez-vous, comme toute bande dessinée, ça reste aussi très divertissant au premier degré et c'est disponible en français chez Delirium dans une très belle édition ! N'hésitez pas à partager cet épisode sur les réseaux sociaux s'il vous a plu ! Recevez mes articles, podcasts et vidéos directement dans votre boîte mail sans intermédiaire ni publicité en vous abonnant gratuitement ! Get full access to CHRIS - POP CULTURE & COMICS at chrisstup.substack.com/subscribe

As the founder of Kitchen Sink Press, Denis Kitchen published some of the most important independent and underground comics of the last 50 years, including Bizarre Sex, Gay Comix, Omaha the Cat Dancer, Will Eisner's Quarterly, The Crow, and From Hell. He has also been a lifelong defender of the First Amendment rights of comics retailers, creators, and readers, and is the founder of the Comic Book Legal Defense Fund, of which Marvel by the Month is a member. We hope you'll consider becoming one as well at cbldf.org.For an additional 40 minutes of this episode, including nearly half an hour of additional conversation with Denis Kitchen, plus our CBLDF-themed recommendations, support us at patreon.com/marvelbythemonth. Subscribers at the $4/month level get instant access to our bonus feed of content, with more than 40 extended and exclusive episodes — and more being added every week. Stories Covered In Detail This Episode:"-- And Now, The Goblin!" - Amazing Spider-Man #96, written by Stan Lee, art by Gil Kane and John Romita, ©1971 Marvel Comics"In the Grip of the Goblin!" - Amazing Spider-Man #97, written by Stan Lee, art by Gil Kane, Frank Giacoia, and John Romita, ©1971 Marvel Comics"The Goblin's Last Gasp!" - Amazing Spider-Man #98, written by Stan Lee, art by Gil Kane and Frank Giacoia, ©1971 Marvel Comics "Marvel by the Month" theme v. 3.0 by Robb Milne, sung by Barb Allen. All incidental music by Robb Milne.Visit us on internet at marvelbythemonth.com, follow us on Instagram at @marvelbythemonthand Twitter at @MarvelBTM, and support us on Patreon at patreon.com/marvelbythemonth.Much of our historical context information comes from Wikipedia. Please join us in supporting them at wikimediafoundation.org. And many thanks to Mike's Amazing World of Comics, an invaluable resource for release dates and issue information.

In the distant future a great calamity drove humanity underground for centuries. When they reemerged there was no memory left of the civilization that existed before. Oh...and dinosaurs once again roam the earth! Two neighboring, rival villages work to keep a tense peace as humanity tries to continue to rebuild. But what does that entail, and what lessons of the dead civilization that preceded them can they take to make sure the same fate doesn't befall them? Find out in Mark Schultz's indy comics classic that would spawn cartoons, toys and games under the name, Cadillacs and Dinosaurs... Xenozoic Tales!---------------------------------------------------Do you love Pokemon? Then check out Matt's account: Johtopokemart on Instagram and eBay !---------------------------------------------------Join the Patreon to help us keep the lights on, and internet connected!https://www.patreon.com/tctwlWant to try out all the sweet gigs over on Fiverr.com? Click on the link below and sign up!https://go.fiverr.com/visit/?bta=323533&brand=fiverrcpaTune in here for every episode of the show!https://kite.link/the-comics-that-we-loveJoin our mailing list for updates and sneak peaks!https://www.tinyurl.com/tctwlpodFollow on Instagram!The Comics That We LoveFollow on Twiter!@Z_Irish_Red

Legendary Underground cartoonist and publisher Denis Kitchen returns for part 2 of this in-depth interview. In this episode, Denis talks about the early days of the Undergrounds, Robert Crumb, the launching of Kitchen Sink Press and more!   Denis Kitchen: deniskitchen.com Instagram: @denis_kitchen_art   Geoff: geoffgrogan.com Instagram: @greenscreencomic patreon: patreon.com/geoffgrogan  

Denis Kitchen, one of the great founding figures of Underground Comics, as well as cartoonist,publisher, author, agent, historian, curator, in conversation about his artwork and extraordinary career. In a multi-part interview he talks about Kitchen Sink Press, Will Eisner, Harvey Kurtzman, Harrison Cady , cartooning,and so much more.  Denis Kitchen: deniskitchen.com on Instagram @denis_kitchen_art Geoff: geoffgrogan.com on Instagram @greenscreencomic Patreon.com/geoffgrogan

I'm chatting with Denis Kitchen about founding The Comic Book Legal Defense Fund, which provides legal protection for the First Amendment Rights of the comics medium. In the span of his remarkable career, Denis published many 1970s underground comics creators, like R. Crumb & Art Spiegelman, through his Kitchen Sink Press. Here's a 1989 Larry King interview with Denis: https://www.youtube.com/watch?v=ftjQc8_wB84. For more info: http://cbldf.org/

The man behind Kitchen Sink Press talks about the history of underground comix, from the 60s to today. We'll discuss the way they were distributed to head shops. How did these handmade books get around? We also talk about his relationship with Will Eisner, and his role as a comic historiaan writing biographies of Harvey Kurtzman and Al Capp

The man behind Kitchen Sink Press talks about the history of underground comix, from the 60s to today. We'll discuss the way they were distributed to head shops. How did these handmade books get around? We also talk about his relationship with Will Eisner, and his role as a comic historiaan writing biographies of Harvey Kurtzman and Al Capp

And now the conclusion to this rambling and too brief history of Kitchen Sink Press.

And the first part of a rambling and too brief history of Kitchen Sink Press, the premier 'comix' publisher of the American comic book industry.

  Heroes Con Mega-Panel: Eisner and Kirby at 100 00:00 - Part 1: Ben Towle interviews Tom Heintjes about Will Eisner and things he learned about Eisner while collaborating with him on a monthly column for Kitchen Sink Press reprints of the Spirit. 43:00 - Part 2: Craig Fischer talks to Daniel Yezbick and Andrew Kunka as they analyze one of Will Eisner's classic Spirit stories, Meet P'Gell. 1:09:00 - Part 3: Jennie Law talks to Eric Larsen, Gilbert Hernandez, Jaime Hernandez, and Steve Saffel about Jack Kirby's ideas as expressed through his comics and his impact on and interactionss with them and others. 1:50:55 - Part 4: Ben Towle takes a look at the 2001: A Space Oddysey comic book that Jack Kirby wrote and drew for Marvel Comics in the mid-to-late 1970s. Recorded on June 17, 2017 at Heroes Con in Charlotte, NC Heroes Con 2017 - 06/17/17 - [2:12:49] -  

Today's Guest: Gary Chaloner, comic book artist, "Will Eisner's John Law" (EDITOR'S NOTE: The following interview with comic book artist Gary Chaloner was recorded on August 25, 2006 to supplement my authorized biography of the late Will Eisner, Will Eisner: A Spirited Life. I recently rediscovered the audio file and decided to add it to the Mr. Media podcast archive. -- Bob Andelman) "Will Eisner's John Law" by Gary Chaloner Gary Chaloner is an award-winning artist and writer who is currently creating and publishing the new adventures of Will Eisner’s John Law. I interviewed Chaloner via email the first time around, for my biography of Will Eisner, A Spirited Life. But that was when John Law had yet to be published. Now that it’s out and building an audience for one of Eisner’s lesser known characters, I thought it would be fun to talk to him again. He suggested we do it via Skype, the free Internet phone service; being a new technology junkie, I had to say yes. So Gary has the dubious honor of being the first person interviewed in this series via podcast. The audio quality isn't perfect; the hum/buzz you'll hear in the background is from my computer. Sorry about that, audiophiles. This interview combines the stories behind Chaloner's Eisner-related work as well as a sneak peek (below) at his upcoming work. Eisner fans will also be excited to learn how many more characters from Eisner's early work are returning to action in Chaloner's John Law series. First, let me tell you a little more about Chaloner: He’s an Australian-born creator who began his career as a publisher of his own work and the work of other Australian creators through his own imprint Cyclone Comics. Cyclone published a range of popular comic books in the 1980s and 1990s with titles as diverse as The Jackaroo, The Southern Squadron, Dark Nebula, GI Joe Australia, Flash Damingo and CCQ (Cyclone Comics Quarterly). Gary's overseas work includes US editions of The Jackaroo and The Southern Squadron; a very odd issue of The Badger with Mike Baron; the award-winning Planet of the Apes: Urchak's Folly; The Olympians, a two-issue prestige series for Marvel/Epic Comics; editorial and creative duties on Dark Horse Down Under for Dark Horse Comics — this series featured the first US appearance of Gary's creation "Morton Stone, Undertaker." His current creator-owned projects include the black comedy of Morton Stone: Undertaker; Red Kelso, a pulp-inspired adventure series; and new adventures of The Jackaroo. Chaloner worked closely with Will Eisner in the development and relaunch of Will Eisner's John Law both online and in print through IDW Publishing. Gary Chaloner The online series recently left ModernTales.com and set up home at http://johnlaw.us.com. You can browse through the archives for free there and read more about Law and his new adventures. As a bonus, Chaloner is uploading original golden age stories featuring Lady Luck and Mr. Mystic. These stories first ran as backups in The Spirit Section and will be remastered and colored for online viewing. Hopefully, these classic stories will be collected for print at a later stage. In the 2005 Ledger Awards (Australian Comic Industry Awards), Will Eisner's John Law received several awards including "International Title of the Year" and "Single Issue or Story of the Year." Chaloner was also awarded the "Ledger of Honour" (a Hall of Fame award) and received industry awards for "Achievement of the Year," "Cover Artist of the Year" and "Inker of the Year." Chaloner also redesign and modernized the official Will Eisner web site. Gary Chaloner Website • Facebook • Twitter • Wikipedia • Goodreads BOB ANDELMAN: Gary, let’s jump in here. Tell us a little bit about John Law and how and when Will Eisner created it. GARY CHALONER: Well, hello to everyone. Hi, Bob. John Law was devised and created by Will back in the mid to late ‘40s. The Spirit was going very well, and Will wanted to expand his range of publications on the newsstand. He developed several titles, one of them being the John Law character, but the first one that he released I think was Baseball Comics, and it didn’t go as well as he would have liked, so the other ideas that he had were put on the shelf for a while. Will, being the frugal person that he was, utilized (inaudible) more artwork and converted it into Spirit stories. So all those stories didn’t see print as Spirit stories until about 1950. So the John Law material was a fully formed concept that he had been thinking about quite a while, for several years, and so that whole idea was a bit stillborn, so when the opportunity came along when I talked to Will and Denis Kitchen about developing the series wasn’t just a dead concept, it was a fully developed, ready-to-go set of characters in the universe that Will had already worked on and established, so that was irresistible. GARY CHALONER podcast excerpt: "If you learn a bit about The Spirit, you also learn about these aborted characters that Will tried to publish back in the ‘40s. The name 'John Law' keeps on popping up as this parallel Spirit character, so it was only through reading about Will’s past and the different things that he tried in the ‘40s that this recurring name 'John Law' and the characters surround him, like Nubbin, The Shoeshine Boy, and Melba, Girl Detective, and a few other characters, had always stuck in the back of my mind as something that, why doesn’t someone do something with these things." ANDELMAN: Was John Law ever published in the ‘50s or not? CHALONER: No, it was not. All of the work was adapted and absorbed into the Spirit universe. John Law in his own environment wasn’t published until the ‘80s in the Eclipse Comics edition. ANDELMAN: That was Dean Mullaney and Cat Yronwode. CHALONER: That’s correct. Yes. What I did there was, they stripped back a lot of the paste overs and art changes that Will had made to the original art to reveal the original John Law art underneath. Will Eisner's "The Spirit" as interopreted by Gary Chaloner ANDELMAN: How did you first hear of John Law? CHALONER: Well, being an Eisner reader for many years and bumping into a lot of the publications that Kitchen Sink first released and that other publications had written about Will Eisner, if you learn a bit about The Spirit, you also learn about these aborted characters that Will tried to publish back in the ‘40s. The name “John Law” keeps on popping up as this parallel Spirit character, so it was only through reading about Will’s past and the different things that he tried in the ‘40s that this recurring name “John Law” and the characters surround him, like Nubbin, The Shoeshine Boy, and Melba, Girl Detective, and a few other characters, had always stuck in the back of my mind as something that, why doesn’t someone do something with these things. A future John Law cover featuring Law and Melba, in a situation inspired by an earlier Eisner piece. ANDELMAN: Whose idea was it that you do this? Was it yours, or was it Denis’? Was it Will? CHALONER: It was pretty much my idea. I approached Denis about it. This is after The Spirit: The New Adventures was cancelled, and I had to produce a story for that, and this was also at a time when Kitchen Sink Press had gone belly up. Denis was going through a few hard times himself, and I had gotten in touch with him, and the relationship developed from there. Well, if The New Adventures had gone beyond issue No. 8, I had to do something else, and the John Law character was always at the back of my mind for me to develop. ANDELMAN: When you did work for The Spirit: The New Adventures, you completed a story that didn’t see print. CHALONER: That’s right. That was going to be in issue nine, and the series ended with issue No. 8. ANDELMAN: And, of course, one of the great ironies here is that, and you have kind of hinted at it, is that Will had done John Law in the late ‘40s or early ‘50s, I guess late ‘40s, and when that did not take off, he adapted the John Law story into The Spirit, because he never wasted anything, and then you, following that same thing many years later, you did a Spirit story, and you adapted it to John Law. CHALONER: I thought it was perfect. The planets were in alignment, really. ANDELMAN: How hard did you have to convince Will to let this happen? CHALONER: Not hard at all, really, not from the creative side. Interestingly, as a John Law project, it wasn’t always intended to initially be presented on the web, and that side of the project interested Will a lot. He was used to emailing and things like that, but he wasn’t really the full expert on web comics and how to deliver something on the Net, so it was all new technology to him. There was a steep learning curve for him as far as being part and parcel of the present Law stories. Another future John Law cover, this time featuring another Eisner creation, Lady Luck. Luck and Mystic feature in the new Law adventures. ANDELMAN: Will was not savvy as far as the Internet went. How did you explain to him the business model behind this? CHALONER: I did the best I could based on the business models that were around at the time, and at the time, Modern Tales was just starting and had been around for several months. It had the business model of the subscription base, where people paid “X” amount of dollars a month or a year to get access to the comics behind the subscriber wall. That kind of logic Will could understand quite easily, the whole idea of magazines having subscriber lists and things like that. It was quite easy for him to understand the logic behind the business of the Internet. The actual technical side of how to, of scanning artwork, color, you had to upload it to the site, that kind of stuff was initially probably a bit of a struggle for him, but he wasn’t a stupid man, so he caught on real quick. ANDELMAN: That’s interesting you mention that. So you are drawing by hand on paper as opposed to using, you are not drawing rig

Our final round of interviews from Baltimore Comic Con includes two artists who have had a profound impact on the American underground/independent comics community. Carla Speed McNeil has produced the sprawling, epic aboriginal science-fiction series Finder since the mid-90s, making it one of the longest running series in all of indie comics, with 10 printed volumes of output released through the artist’s Light Speed Press. McNeil has also collaborated on a number of series through the years, including Queen & Country: Operation: Stormfront with Greg Rucka and the recent Image miniseries  No Mercy, created with writer, Alex De Campi. Inspired by underground masters like Robert Crumb and Jay Lynch, Denis Kitchen began self-publishing comics in the late 60s. The artist would ultimately have more of an impact behind the scenes, through publishing companies like Kitchen Sink Press and Kitchen Sink Books, as well as serving as an agent for the works of comics giants like Will Eisner and Harvey Kurtzman. Kitchen also counts the founding of The Comic Book Legal Defense fund among his many industry-shaping accomplishments.

On this special episode of The Comics Alternative, Andy and Derek kick off Will Eisner Week by having as their guests on the show Denis Kitchen and Michael Schumacher. Denis is an underground comix legend as well the force behind Kitchen Sink Press, and he was a close friend, business associate, and former publisher of Eisner. Michael is an author whose biography, Will Eisner: A Dreamer's Life in Comics, was released by Bloomsbury in 2010. The Two Guys talk with them about the comics of Will Eisner, the artist's impact and innovations, and the person behind the legend. They discuss with Denis his recollections of his relationship with Eisner, explore the impact of the underground comix movement on the artist's career, and hear anecdotes about Eisner's aesthetic philosophy and business practices. Derek and Andy also talk with Michael about his experiences researching Eisner, his papers, and former associates, and they learn about his efforts in chronicling Eisner's life. The result is an engaging conversation that not only celebrates the artist, but also honors the man who was Will Eisner.

Denis Kitchen, Al Capp: A Life to the Contrary In 1969, cartoonist, writer, and alternative publishing pioneer, Denis Kitchen founded Kitchen Sink Press, an innovative house that, until it folded in 1999, published early and new graphic works by some of the most recognized artists in the underground “comix” vanguard. Kitchen founded and for eighteen years chaired the Comic Book Legal Defense Fund, a non-profit organization dedicated to protecting first amendment rights in the comics industry. Kitchen co-authored The Art of Harvey Kurtzman with Paul Buhle, and Underground Classics with James Danky. In addition, Kitchen has written dozens of essays, introductions and annotations for books with numerous publishers including Abrams, W. W. Norton, Dark Horse Comics, DC Comics, Kitchen Sink Press, and Kitchen Sink Books.

Denis Kitchen, Al Capp: A Life to the Contrary In 1969, cartoonist, writer, and alternative publishing pioneer, Denis Kitchen founded Kitchen Sink Press, an innovative house that, until it folded in 1999, published early and new graphic works by some of the most recognized artists in the underground “comix” vanguard. Kitchen founded and for eighteen years chaired the Comic Book Legal Defense Fund, a non-profit organization dedicated to protecting first amendment rights in the comics industry. Kitchen co-authored The Art of Harvey Kurtzman with Paul Buhle, and Underground Classics with James Danky. In addition, Kitchen has written dozens of essays, introductions and annotations for books with numerous publishers including Abrams, W. W. Norton, Dark Horse Comics, DC Comics, Kitchen Sink Press, and Kitchen Sink Books.