Wed Aug 27th - FUSE Signing With Artist Justin Greenwood!
Wednesday Aug 27th - 4pm
RSVP on facebook
"22,000 MILES UP, THERE IS NO BACKUP.
Working homicide on an orbiting energy platform, in a five mile long jury-rigged steel city stuffed with a half million people, and no help from your so-called colleagues back on earth, is more than tough…it’s murder.”
I’ll be at Mission Comics in San Francisco next Wednesday for the release of THE FUSE Vol.1 TPB from imagecomics! If you’re in the Bay, drop by and get a signed copy! And if you’ve already been picking it up monthly, come by and get my undying love in person.
And if you’re not in London, but you are in SF, then GO HERE INSTEAD.
LONDON: Signing at Forbidden Planet Megastore, August 30
A reminder for anyone in or around London next weekend that I’ll be appearing at the Forbidden Planet London Megastore on Saturday August 30, between 3-4pm.
(That’s next Saturday, not this bank holiday weekend.)
Eagle-eyed readers will note the date is just three days after THE FUSE Vol 1: THE RUSSIA SHIFT goes on sale, which is of course no coincidence at all.
But UMBRAL readers shouldn’t feel left out, because we’ve produced exclusive, signed and numbered limited edition bookplates for both THE FUSE and UMBRAL, featuring original art by Justin Greenwood and Christopher Mitten, for the event. We’ll give one away with each of the first 150 copies of THE FUSE and UMBRAL trade paperbacks sold.
(That’s them in the main image, if you hadn’t guessed.)
If you can’t make it to the event, don’t worry — you can also order these “mini-print” editions online, although priority will be given to people actually buying in-store on the day. Nevertheless, if you want to order online, check the event page for details.
And of course readers of WASTELAND, THE COLDEST CITY, DAREDEVIL, whatever, are all welcome, too. Come one, come all. This will probably be the biggest signing I’ve yet done, so try and get there early, or at least on time, if you can.
Hope to see you there!
The vocoder—part military technology, part musical instrument—has had quite a history. In our new Object of Interest video, we explore the vocoder in settings ranging from the Second World War to Kraftwerk parties, featuring interviews with Laurie Anderson, Cozmo D, Dave Tompkins, and Frank Gentges.
Forgot to mention that the Image November solicits — which include THE FUSE #7, kicking off the next arc — also features UMBRAL #11, "In Nobody We Trust":
Only Rascal can save…Shayim and Munty?! But not before she decides it’s time for a pretty drastic change. And that’s not even mentioning what she sees in the blade, or who follows her into the woods. It’s time to stand and fight!
That “drastic change” is going to have some people cursing, I suspect :D
On sale November 26.
I finished writing the final issue of WASTELAND today.
Eight years, sixty issues, 1400 pages. (Don’t even make me think about other stats like “hours worked” or “caffeine consumed” or “years shaved off my life”)
But even these scary figures are only publication stats. WASTELAND started life, as a concept, twenty-three years ago. I pitched the idea to Oni Press almost eleven years ago, and wrote the first draft of what would become issue #1 ten years ago.
WASTELAND was an incredibly hard book to pitch, you see. Even at that early stage of my career, I knew I didn’t have the skill to summarise it without making it sound like the most depressing, anti-commercial book in history.
"So the world’s been destroyed, but nobody knows what really happened… and there’s this guy, who’s got powers, but they’re not the focus of the story, and anyway he’s kind of an asshole… and all these new religions are competing for power… and there’s a new quasi-medieval city where the leader is kind of an asshole, too… and it’s really violent, and bleak, and there’s no jokes, or justice, or even hope… oh, yeah, and we don’t actually reveal the truth about what happened until the last few issues."
I just sat down and wrote issue #1, instead. I wanted to get the atmosphere and feeling of WASTELAND across as much as anything, and actually writing a script was the most effective way for me to do that. I knew if Oni liked the script, I could get them on board for the whole thing.
Things didn’t always go as planned. We had deadline problems, artist problems, production problems, and as crazy as it may sound after sixty issues, there are pages and pages of stuff I wanted to do that I never found room for.
Frankly, there were times when the mere act of writing this book seemed so insurmountable that I wanted to throw my hands up and walk away.
But I couldn’t. Partly as defiance — I refused to give anyone the satisfaction of being able to say I didn’t follow through, that my notion of writing a “grand epic” was a pipe dream.
More than that, though, it was for me. What’s the point of anything, if you get given the chance to write a story like this and then give up halfway through? I might as well quit writing altogether.
So here we are, years later, at the end.
WASTELAND is far from a commercial blockbuster. It’s never been my best-selling comic, and I doubt it ever will be. But it’s the story I wanted to tell, how I wanted to tell it, without compromise. That’s incredibly valuable, and I’m enormously proud of it.
(I’m also fairly confident that, if I’m remembered for anything at all, it’ll be WASTELAND — a bleak, depressing, violent book about how cruel and selfish people are, in a world bereft of hope and justice. Hi, mom!)
I’ve made it sound like it was all me, and of course, that’s not the case. There are a whole host of people to thank, and I’ll do that properly when issue #60 is actually published in early 2015. But for now, aside from checking proofs and the odd bit of design, my work on WASTELAND is done.