A Heroes Con Exclusive

So here's the thing I teased on Twtter last night. I'm going to test out doing extremely limited-edition, locally-focused prints at conventions.

My next show is HeroesCon in Charlotte. So take a gander at this piece of Love and Capes art featuring Charlotte and, well, Charlotte.

If this goes well, I'll do a series of these this year. So there'll be Miami, San Diego, Toronto, Columbus, Detroit and more. Each one will honor the host city of the convention. This one, for instance, is playing off the statue of Queen Charlotte at the Charlotte airport.

The prints will be 12x18 and, like I mentioned, these will be extremely limited. I'm going to make only 26 prints, each signed and numbered. I'll sell numbers 1-25 at my table for $20.00 each. The 26th will be marked as "number zero" and will donated, along with the original art, to the art auction. So not only will I have local prints, but new auction items for the shows I'm attending.

Big thanks to Jesse Jackson, who put the germ of the idea in my head, and Jeni, @zatannamomma on Twitter, who told me about the statue.

Turning Off the Dark

This year, I decided to celebrate my birthday Broadway-style. Literally.

My plan was simple: Go up to New York, suit up, grab a great dinner, see Spider-Man: Turn Off the Dark, and then grab a drink at McGee's, the bar that inspired MacLaren's on How I Met Your Mother. My friends Jill and Dee signed on for the adventure and, Friday at stupid o'clock in the morning, we headed out to New York City. And we flawlessly executed the whole thing. Well, our navigation may have been off finding a store or two on Saturday before we headed home, but the important part, the birthday part: flawless.

The odds were stacked in favor of awesomeness, too. I was with two of my best friends in one of the best cities in the world. And I love Broadway. Even bad Broadway. (Not only did I see Dance of the Vampires, but I found demo tracks of the songs online. Yeah, I'm that big a Broadway guy.) That said, I had a great time.

Spider-Man: Turn Off the Dark is an interesting beast, and if I'm going to talk about it, there will be spoilers ahead. You have been warned.

The show has been heavily revised since its initial, accident-filled previews. And the revised version I saw is still technically in previews, so there are things I'm sure they're going to improve, like the dancing in the big military super-soldier number. In that scene, the evil Viper Corporation (no doubt a front for Hydra) is trying to buy Osborne's research to create super-soldiers. This is presented as a bad thing, which is kind of interesting since in the Marvel Universe, we know those kind of projects actually work out pretty well. Regardless, the dancing could have been crisper.

Overall, though, it reminds me a lot of one of those production shows you see at an amusement park. Like the Beauty and the Beast show at Disney World/Hollywood Studios, or, more on point, the Spider-Man musical that was at Universal Studios for a while. Now, it was a well-staged theme park musical and one I enjoyed immensely, but it still had that feel.

The more I think about it, the more I think that's unavoidable. Musicals rarely achive that continuity of tight storytelling. Scenes and songs serve to illuminate plot points, often creating an overview of a story less that a complete story. Add to that the disadvantage of knowing the source material the way I and comic book fans do. When Uncle Ben is killed in a carjacking, gone is Peter's failure to stop the carjacker earlier. It's like a precis version of the scene. It also serves to save us a Spidey-tracks-down-Ben's-killer-scene. Peter still blames himself for not being there and not saving Ben, though, so we get to the same "With great power comes great responsibility" moment.

But, if I had read Wicked before seeing the musical… okay, that may be a bad example because if I'd read the book I might never have seen the musical. Man was that thing weird. But, my point is not knowing the source material made it possible to enjoy it more, because I wasn't judging what it should have been and instead judged what it was.

The singing and acting is pretty uniformly enjoyable. I'm not sure all the songs work as well anymore as they're in different places. Much of the Arachne stuff has been cut back, wisely so, but for production reasons they can't jettison it entirely. So her scenes still kind of slow the production. Besides, I don't see why anyone would think an ancient godlike being would bother to mess around in the life of Spider-Man. That's just silly. I think. I don't remember.

The sets and staging are wonderful. They've got a comic book flavor without getting too cartoony, and at one point even invoke page-flipping without beating you over the head with it. The sets are all at wonky comic book angles, but I think it works. And some of the city stuff, especially the scene near the end that takes place looking down at a New York City street, is spectacular. (Yeah, I went there. Deal with it. I might say "amazing", too.)

The musical performances are very good, although none of the songs really stuck in my head, except for that one guitar riff which sounds like the theme to Batman Beyond: Return of the Joker more than anything else.

The real star is all the wire work showing Spider-Man swinging through the city. It's a guy wearing a wire harness, but I'll be darned if I didn't sit there watching those with a stupid grin on my face just enjoying the whole thing. And, through clever use of multiple Spider-Man actors, he pops from place to place, even appearing in the mezannine and the balcony. The showcase piece is Spider-Man on one harness track fighting a flying Green Goblin on a second, and even landing on him. Just to not tangle up all those wires is pretty awesome.

There was one misfire where Spidey didn't land cleanly. The result being a pause in the show as the chorus actors had to vamp while Spider-Man reset. In some ways, that made it a perfect night. We got to see a decent show and still had a technical difficulty.

The effects caused a kind of congnitive dissonance with me, though. I was so glad to see the recent Spider-Man movies and have his trademark moves really look great. We'd come a long way since the days of Nicholas Hammond. But, to do this show, the effects have to regress to that level, with spider webbing being replaced with streamers that burst out of a cartridge like those bottle poppers at New Year's Eve.So, you're kind of left going "That's cheesy, the movie did it better… oh, wait."

I have to call out the performance of the Green Goblin, too. He was really great.The role swings from manic scientist to crazy Joker-like levels of insanity. He's got to be silly and menacing and funny, and he really does it. I'm not sure that's how I would have written the role (which is the curse of the comic fan at a production of a comic) but he executed everything he was asked to do wonderfully.

Will it succeed? I've got a feeling it'll be like Cats. Critics will dislike it, and people will flock to it. I don't know if it'll turn a profit, or even break even, but it'll be fun to see it try.

I Should Really Do This as Product Placement

I was asked to draw the Love and Capes trinity, Crusader, Darkblade and Amazonia. I thought of a bunch of typical superhero poses, but given that Love and Capes isn't really a typical superhero book, I rejected those and decided to do something a little closer to the tone of the book. So, here, our three heroes are drinking coffee.

There's something about this pose that reminds me of those Clark Bar contest ads from the 80s where you could be drawn in an issue of a comic book.

Commission - Mark and Abby

I've drawn Mark and Abby together a lot over the last five years, both through the book itself and commission requests. It's always a challenge to find something different. It's also a challenge to find a way to make them work together. The cartoony nature of the characters and the body types and proportions don't always mesh well together. You have to work to make sure they belong in the same universe. I think I've mentioned it before, but any scene where Mark and Abby are drinking is work to make both their hands hold the same size glass.

When asked to draw this, I took advantage of having studio time and pads of tracing paper and worked with the pose. I was able to do one of those hugging-from-behind poses. I further cheated just a little by making the two of them flying so their feet didn't have to be on the same plane.

I really like this image, and I think you'll be seeing it again somewhere…

You Can Do Magic - Zatanna Commission

Commissions are starting to pick up. Or maybe I just let them pile up while I was churning on the last issue of the current Love and Capes miniseries. Either way, there's a lot of drawing going on.

First up is a Zatanna piece for a customer in Charlotte who wanted to see Zee magically choosing between her classic and Eighties outfit. The second Eighties outfit, of course. He'll be picking it up at HeroesCon. So I think this is a fine time to mention that if you know I'm coming to a show (my full schedule is here) and want to get on the sketchlist early, I'll be glad to do that. Since I color digitally, it means that you'll be able to get the digital print at the same time, too. Just shoot me an e-mail at tz (at) thomz.com and we'll get you set up.

And Alexander Wept

I haven't been around here much, I know. My March was pretty blown apart, and that left me with April to finish up 19 pages of the last issue of the Love and Capes: Ever After miniseries. For those of you that follow my schedule, I usually do about ten pages a month. Fourteen if I'm productive. I do pencil, ink, color and letter the whole darn thing while maintaining a freelance career.

But I barrelled through and did nineteen pages in twenty-two days. That's almost a page a day. Heck, two of those days had double-page days, and I'm kind of proud of that. Plus, I think it's a pretty special issue, too.

That said, I won't be posting any art from it. There are several surprises in it and I'd like to keep them surprising. That is assuming the New York Post doesn't find out and spoil anything. I'll do my part by not issuing a press release to them.

But, I think you're going to like it.

So, I should be back here a little more now. And, if you're in Boston next week, come see me at the Boston Comicon, April 30-May 1.

It's like Grosse Point Blank with Superheroes

This very Wednesday you can walk into your local comic shop and get a copy of Love and Capes: Ever After #3. Below is my cover for the book. There's also a Darwyn Cooke alternate cover that's just amazing. This issue features Abby going to her high school reunion, and a big focus on Charlotte, Darkblade and Amazonia.

And the variant…

Order Love and Capes: Ever After #5

I've been traveling like crazy this past month, having gone to Seattle, Chicago and Orlando, so this blog has taken a bit of a hit. But things should get a little more active as I'm actually in town for the entire month of April. Well, minus the last day, but more about that soon.

Anyway, I wanted to remind you all that Love and Capes: Ever After #5 is available for preorder in Previews right now. It's the last issue of this miniseries, and someone's not making it out.

It's Previews Order Code APR11 0372. Order big, or I might kill someone else off.

Shirts and Seattle, oh my!

Love and Capes: Ever After #2 is in stores tomorrow! And, I'm going to be at the Emerald City Comicon this weekend. As I've done since last year, I'm only bringing shirts and hoodies for pre-orders. What? You don't know where to go to preorder? Why, right here.

I finished Love and Capes: Ever After #4 a couple of days ago. This is one of my favorite panels from the book. There's actually no dialogue in it when the scene appears. Here, Mark and Abby are just being together, having a good time and telling stories.

This is the second time I've drawn Mark telling a story to someone in pantomime. The first time is in Love and Capes: Ever After #2. Every time I do it, I just imagine him doing the Tom Cruise/Anthony Edwards scene from Top Gun. "We were inverted."

And, on a more serious note, thank you one and all for your kind words of support and love over the last week. I appreciate it more than I can say.

Nebraska Art in Color

I did some commissions at Ground Zero in Omaha, and one of them was this Gwen Stacy piece. The purchaser had me take it home so that I could color it, since I color exclusively digitally. You want to see it in color? Well, then, click and embiggen!