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Grant morrison invisibles lipstick7/24/2023 I took a train out to Norristown, which was 52 minutes from my apartment in Center City, walked two miles to a dilapidated duplex, and met Diana. I sent my resume, and was lucky enough that Diana Schutz was willing to give me an interview. First day at the comic book shop - Fat Jack’s Comicrypt - I walked in to start my pull-list, which included Hellblazer, Doom Patrol, Love and Rockets, and I was told that there was a position open at Comico, which was ”close by” in Norristown, Pennsylvania. So, I was a DJ for the summer and moved to Philadelphia on a whim. I heard back from a few places that weren’t interested. SB: I graduated with a degree in film, video, and audio production. KS: What did your life look like post-college, as far as when working in comics became a consideration? This is not the comic book art that I’m familiar with.” And that was that. Also some other painterly comics by Bill Sienkiewicz. I’m a huge Gilbert Hernandez fan- his work brings me to my knees to this day. Love and Rockets, which is still my favorite comic book. I think you’ll like those comics.” And sure enough, I went into the comic book store and discovered Grendel #16 and 17, which was my gateway drug. There’s a comic book store in the Commons. So, my mouth just hung open until it hit the floor, and Will must have noticed because he said, “If you like that comic, you have to see what else is coming out right now. I didn’t even know comic books were still made. The teacher held up Peter Gross’s Empire Lanes. But I took my classes in college very seriously, so I was there, no problem. I was a senior, had just come back from a semester in London, did not wanna be there, was grumpy. Will was a transfer student, so he had to take that class. ![]() Our teacher was talking to us about storyboarding, which is such a different thing than comics, but it was a terrific idea to use a comic book as a teaching tool. When I discovered comics, I was in a screenwriting class in college - I’m sure Will Dennis has a very similar story. You know, desperate to be a New Romantic forever. I was a part of what I call “generation MTV.” I was the kid who was glued to the set on August 1st, 1981. KS: How about movies? When did that love start? We called them Betty and Veronica, but I didn’t read comics and I didn’t read much of anything. The other connection I just remembered recently was that my uncle bought my sister and me matching baby chicks, little chickens. And I loved the Peanuts gang, so I did read the newspaper strips. ![]() Honestly, the closest connection I had to comics was having a crush on Marine Boy, which was a Japanese cartoon in the ‘70s. I tap danced, I was a baton twirler in high school, and I was not interested in reading because it’s all my sister did. ![]() SB: My comics 101 story started in college. KS: You came to comics as a reader a bit later in life, correct? It wasn’t a childhood love. And when I say comics, I mean indie comics. And also, where else could I ignite a revolution every couple of years? Only in comics. Even those of us who consider themselves existentialists and hate people, there’s no greater way to put your dreams, your aspirations, and what is irritating you on the page. Because all we really want to do is connect with each other. I think there’s no greater way to express what’s going on in your head than by collaborating with others who can help you bring a story or a concept to life and share it with the world. There is no other media that is so immersive that you can produce within a matter of months and have a tangible object in your hands. Shelly Bond: Comics is the ultimate art form. Your specialties (artist/writer/letterer/inker/etc.): Editorįanbase Press Contributor Kevin Sharp: The first question I ask to each guest, which is kind of the overarching question behind all of it, is why comics? What is the appeal of this artform for you personally? She’s worked hands-on with some of the biggest names in the business and has survived to tell the tale(s). “Between the Panels” is a bi-weekly interview series focusing on comic book creators of all experience levels, seeking to examine not just what each individual creates, but how they go about creating it.įrom her start at 1980s publisher Comico (RIP), to getting in on the ground floor at Vertigo (ditto), to starting her own publishing label, Shelly Bond’s professional journey could be held up as a map of modern comics editorial overall.
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