In Amy’s studio - prepping for Norfolk show this Friday.

When Lapham hits a storytelling stride it becomes one of the more compelling reads you can can enjoy in the dreck of modern comics.
Take his run on the shitty 30 Days franchise.  Remember this is back in ‘08 when vampire boner season was in full swing.  What does Lapham do?  Takes stale genre tropes and makes it about the close/isolated relationships within urban dwellings, peppered with thoughtfully formed funny and dark characters.  At its core it’s about the survival of evil, but successfully pulls you in to care about its deplorable protagonist. 
Now he’s back on his Stray Bullets series.  The nuances in language, character motivations, and conclusions proves again to be one of the better crime comics that combines interpersonal dynamics with a genuine sense of what not to expect next.
Please click on pics for artist credits.  When Lapham hits a storytelling stride it becomes one of the more compelling reads you can can enjoy in the dreck of modern comics.
Take his run on the shitty 30 Days franchise.  Remember this is back in ‘08 when vampire boner season was in full swing.  What does Lapham do?  Takes stale genre tropes and makes it about the close/isolated relationships within urban dwellings, peppered with thoughtfully formed funny and dark characters.  At its core it’s about the survival of evil, but successfully pulls you in to care about its deplorable protagonist. 
Now he’s back on his Stray Bullets series.  The nuances in language, character motivations, and conclusions proves again to be one of the better crime comics that combines interpersonal dynamics with a genuine sense of what not to expect next.
Please click on pics for artist credits. 

When Lapham hits a storytelling stride it becomes one of the more compelling reads you can can enjoy in the dreck of modern comics.

Take his run on the shitty 30 Days franchise.  Remember this is back in ‘08 when vampire boner season was in full swing.  What does Lapham do?  Takes stale genre tropes and makes it about the close/isolated relationships within urban dwellings, peppered with thoughtfully formed funny and dark characters.  At its core it’s about the survival of evil, but successfully pulls you in to care about its deplorable protagonist. 

Now he’s back on his Stray Bullets series.  The nuances in language, character motivations, and conclusions proves again to be one of the better crime comics that combines interpersonal dynamics with a genuine sense of what not to expect next.

Please click on pics for artist credits. 

comixology:

We’re live-tweeting from Comic-Con International 2014 with tons of Con goings-on. Just follow our twitter to see our little corner of SDCC.


I’ve been doing comics wrong forever :( comixology:

We’re live-tweeting from Comic-Con International 2014 with tons of Con goings-on. Just follow our twitter to see our little corner of SDCC.


I’ve been doing comics wrong forever :( comixology:

We’re live-tweeting from Comic-Con International 2014 with tons of Con goings-on. Just follow our twitter to see our little corner of SDCC.


I’ve been doing comics wrong forever :( comixology:

We’re live-tweeting from Comic-Con International 2014 with tons of Con goings-on. Just follow our twitter to see our little corner of SDCC.


I’ve been doing comics wrong forever :( comixology:

We’re live-tweeting from Comic-Con International 2014 with tons of Con goings-on. Just follow our twitter to see our little corner of SDCC.


I’ve been doing comics wrong forever :( comixology:

We’re live-tweeting from Comic-Con International 2014 with tons of Con goings-on. Just follow our twitter to see our little corner of SDCC.


I’ve been doing comics wrong forever :( comixology:

We’re live-tweeting from Comic-Con International 2014 with tons of Con goings-on. Just follow our twitter to see our little corner of SDCC.


I’ve been doing comics wrong forever :( comixology:

We’re live-tweeting from Comic-Con International 2014 with tons of Con goings-on. Just follow our twitter to see our little corner of SDCC.


I’ve been doing comics wrong forever :( comixology:

We’re live-tweeting from Comic-Con International 2014 with tons of Con goings-on. Just follow our twitter to see our little corner of SDCC.


I’ve been doing comics wrong forever :(

comixology:

We’re live-tweeting from Comic-Con International 2014 with tons of Con goings-on. Just follow our twitter to see our little corner of SDCC.

I’ve been doing comics wrong forever :(

(via fantagraphics)

Beat the heat. Art by Rudy Palais.

How Congress operates. Art by Howard Nostrand.

jeanscomics:

Night Burgers #1, now available for pre-order!

24 pages of full color neon comics by Victor Kerlow (thankyouvictor), Josh Burggraf  (joshburggraf), Josh Freydkis (joshfreydkis), Jason Murphy (menutnutnut), Anthony Meloro (anthonymeloro), Ken Johnson ballandcone and Amy Searles amyofdarkness.  Edited/cover by Harris Smith negativepleasure

Each copy includes prismatic viewing glasses for full psychedelic reading experience.

Preorder now: http://negativepleasure.storenvy.com/products/6105226-night-burgers-1

!!!!!!!!!!!!!

samriedel:

anthonymeloro:

No Time
The above examples show some of the basic differences between Bronze Age and contemporary (mainstream) comic “reading”.  The most obvious characteristic is contemporary comic’s lack of text.  Now before you get all sweaty and belch out something incoherent - yes, I realize this is a singular comparison.  That stated, however, I tend to notice how I’m blazing through recent titles due to the primary focus on action (violence) and less on exposition.  Is one better than the other?  Not the point.  I view this more as a shift to how we consume information: fast and, at times, without complete context.
Ben Marra nicely sums up comic’s current stand on compositions/pacing in relation to refrained use of thought 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).
Lastly, Shalvey does a stellar job creating a Morris Day inspired villian.
Please click on pix for artist credits.


It’s important to note that the bottom pages are written by Warren Ellis, whose run on Stormwatch and The Authority (especially the latter) popularized the “widescreen” format. After Mark Millar continued the practice in his Authority run and later in The Ultimates, it became industry standard. And of course, without Ultimates, we wouldn’t have the MCU.

No it’s not important to note. Because I already did in my first post - read it again. But I will point out that your contribution adds nothing. samriedel:

anthonymeloro:

No Time
The above examples show some of the basic differences between Bronze Age and contemporary (mainstream) comic “reading”.  The most obvious characteristic is contemporary comic’s lack of text.  Now before you get all sweaty and belch out something incoherent - yes, I realize this is a singular comparison.  That stated, however, I tend to notice how I’m blazing through recent titles due to the primary focus on action (violence) and less on exposition.  Is one better than the other?  Not the point.  I view this more as a shift to how we consume information: fast and, at times, without complete context.
Ben Marra nicely sums up comic’s current stand on compositions/pacing in relation to refrained use of thought 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).
Lastly, Shalvey does a stellar job creating a Morris Day inspired villian.
Please click on pix for artist credits.


It’s important to note that the bottom pages are written by Warren Ellis, whose run on Stormwatch and The Authority (especially the latter) popularized the “widescreen” format. After Mark Millar continued the practice in his Authority run and later in The Ultimates, it became industry standard. And of course, without Ultimates, we wouldn’t have the MCU.

No it’s not important to note. Because I already did in my first post - read it again. But I will point out that your contribution adds nothing.

samriedel:

anthonymeloro:

No Time

The above examples show some of the basic differences between Bronze Age and contemporary (mainstream) comic “reading”.  The most obvious characteristic is contemporary comic’s lack of text.  Now before you get all sweaty and belch out something incoherent - yes, I realize this is a singular comparison.  That stated, however, I tend to notice how I’m blazing through recent titles due to the primary focus on action (violence) and less on exposition.  Is one better than the other?  Not the point.  I view this more as a shift to how we consume information: fast and, at times, without complete context.

Ben Marra nicely sums up comic’s current stand on compositions/pacing in relation to refrained use of thought 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).

Lastly, Shalvey does a stellar job creating a Morris Day inspired villian.

Please click on pix for artist credits.

It’s important to note that the bottom pages are written by Warren Ellis, whose run on Stormwatch and The Authority (especially the latter) popularized the “widescreen” format. After Mark Millar continued the practice in his Authority run and later in The Ultimates, it became industry standard. And of course, without Ultimates, we wouldn’t have the MCU.

No it’s not important to note. Because I already did in my first post - read it again. But I will point out that your contribution adds nothing.

agelfeygelach:

dr-archeville:

agelfeygelach:

anthonymeloro:

No Time
The above examples show some of the basic differences between Bronze Age and contemporary (mainstream) comic “reading”.  The most obvious characteristic is contemporary comic’s lack of text.  Now before you get all sweaty and belch out something incoherent - yes, I realize this is a singular comparison.  That stated, however, I tend to notice how I’m blazing through recent titles due to the primary focus on action (violence) and less on exposition.  Is one better than the other?  Not the point.  I view this more as a shift to how we consume information: fast and, at times, without complete context.
Ben Marra nicely sums up comic’s current stand on compositions/pacing in relation to refrained use of thought 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).
Lastly, Shalvey does a stellar job creating a Morris Day inspired villian.
Please click on pix for artist credits.

I feel like thought balloons are especially important for Moon Knight comics because Marc Spector is actually insane and it is important to understand what is going through his head.

marc spector world’s craziest jew #what is he today? delusional? dissociative? paranoid? #he’s like Batman if all the jokes about Bruce’s mental state were actual canon

I’ve always love thought balloons, though I guess they would get in the way of the ever-popular (and overused) “[Character] is acting like a total jerk, but don’t worry, it’s for a good reason!” thing (since we would be able to see their thoughts and know the real reason they’re being a jerk.

Spoiler: Marc is being a jerk because someone tried to kill him in Egypt and he had some kind of episode and thought an obscure lunar deity resurrected him. Also maybe that actually happened, but he’s still not in a good place, psychologically speaking.

"Before you belch out something incoherent" agelfeygelach:

dr-archeville:

agelfeygelach:

anthonymeloro:

No Time
The above examples show some of the basic differences between Bronze Age and contemporary (mainstream) comic “reading”.  The most obvious characteristic is contemporary comic’s lack of text.  Now before you get all sweaty and belch out something incoherent - yes, I realize this is a singular comparison.  That stated, however, I tend to notice how I’m blazing through recent titles due to the primary focus on action (violence) and less on exposition.  Is one better than the other?  Not the point.  I view this more as a shift to how we consume information: fast and, at times, without complete context.
Ben Marra nicely sums up comic’s current stand on compositions/pacing in relation to refrained use of thought 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).
Lastly, Shalvey does a stellar job creating a Morris Day inspired villian.
Please click on pix for artist credits.

I feel like thought balloons are especially important for Moon Knight comics because Marc Spector is actually insane and it is important to understand what is going through his head.

marc spector world’s craziest jew #what is he today? delusional? dissociative? paranoid? #he’s like Batman if all the jokes about Bruce’s mental state were actual canon

I’ve always love thought balloons, though I guess they would get in the way of the ever-popular (and overused) “[Character] is acting like a total jerk, but don’t worry, it’s for a good reason!” thing (since we would be able to see their thoughts and know the real reason they’re being a jerk.

Spoiler: Marc is being a jerk because someone tried to kill him in Egypt and he had some kind of episode and thought an obscure lunar deity resurrected him. Also maybe that actually happened, but he’s still not in a good place, psychologically speaking.

"Before you belch out something incoherent"

agelfeygelach:

dr-archeville:

agelfeygelach:

anthonymeloro:

No Time

The above examples show some of the basic differences between Bronze Age and contemporary (mainstream) comic “reading”.  The most obvious characteristic is contemporary comic’s lack of text.  Now before you get all sweaty and belch out something incoherent - yes, I realize this is a singular comparison.  That stated, however, I tend to notice how I’m blazing through recent titles due to the primary focus on action (violence) and less on exposition.  Is one better than the other?  Not the point.  I view this more as a shift to how we consume information: fast and, at times, without complete context.

Ben Marra nicely sums up comic’s current stand on compositions/pacing in relation to refrained use of thought 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).

Lastly, Shalvey does a stellar job creating a Morris Day inspired villian.

Please click on pix for artist credits.

I feel like thought balloons are especially important for Moon Knight comics because Marc Spector is actually insane and it is important to understand what is going through his head.

I’ve always love thought balloons, though I guess they would get in the way of the ever-popular (and overused) “[Character] is acting like a total jerk, but don’t worry, it’s for a good reason!” thing (since we would be able to see their thoughts and know the real reason they’re being a jerk.

Spoiler: Marc is being a jerk because someone tried to kill him in Egypt and he had some kind of episode and thought an obscure lunar deity resurrected him. Also maybe that actually happened, but he’s still not in a good place, psychologically speaking.

"Before you belch out something incoherent"