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Don't look... but we are actually in the second half of 2016. Right. Now. How is this possible, you may ask? We're not really sure either.  Seems like we were just breaking our New Year's resolutions yesterday... but here are a few reasons to look forward to the last half(-ish) of the year. While other lists may include apple-picking in the fall or even Christmas, we're focussing on something that may be even more gratifying for a few (maybe a lot) of us: Comic Conventions! Starting with San Diego Comic Con this weekend, we've pulled together a list of Top 5 Can't-Miss Comic Cons for you to check out through the end of 2016.
SDCC   San Diego Comic-Con International, San Diego, CA Date: July 21-24, 2016 Location: San Diego Convention Center Estimated Attendance: 167,000 Website: http://www.comic-con.org   For over 40 years, San Diego Comic-Con International has arguably grown into the largest comic convention in the United States. With close to 160,000 fans now attending every year, it’s safe to say it’s a well-loved event. Amazingly talented artists such as Paul Levitz, Jim Lee, and Satoshi Yamamoto will be in attendance. There are also plenty of panels you don’t want to miss out on: AMC’s The Walking Dead, Q&A with the one and only George R.R. Martin—creator of Game of Thrones, and you get the chance to have a conversation with the incomparable Joss Whedon. If that isn’t enough to knock your socks off, there will be 2 exclusive panels this year in celebration of Aliens’ 30th anniversary and the 50th anniversary of Star Trek’s first broadcast.  While it may be difficult to attend this year, thanks to Lionsgate teaming up with SDCC, for the first time ever, the best panels will be streamed online!
WWCC Wizard World Chicago, Rosemont, IL Date: August 18-21, 2016 Location: Donald E. Stevens Convention Center Estimated Attendance: 70,000 Website: http://wizardworld.com/comiccon/chicago For 24 years, Wizard World Chicago, or more commonly known as Chicago Comicon, is one of the oldest and largest comic conventions in the US. A star-studded convention is what awaits comic fans this year with appearances like Carrie Fisher (Star Wars), Christopher Lloyd (Back to the Future),  and Deborah Ann Woll (True Blood).  X-Files fans (of the original hit series or the recent revival) rejoice, Gillian Anderson and David Duchovny will be in attendence this year. As if that wasn’t enough, if you’re a wrestling fan, John Cena will also be a special guest this year. Chicago Comicon is a pop culture experience out of this world and should not be missed.
RCCCRose City Comic-Con, Portland, OR Date: September 2-4, 2016 Location: Oregon Convention Center Estimated Attendance: 32,000 Website: http://rosecitycomiccon.com Starting in 2012, Rose City Comic-Con has become one of the largest northwest comic conventions in the US. Since RCCC was first held, fan attendance has grown 8 times in size over the last 4 years. Held in Portland, RCCC is a prime example of a smaller local con, pulling it’s fair share of big high-profile names like Stan Lee, Peter Mayhew (Chewbacca of Star Wars), and Chad Coleman (Walking Dead), just to name a few. RCCC is one of the last west coast comic-cons Stan Lee will appear in -  you don't want to miss out on that!
NYCCNew York Comic-Con, New York City, NY Date: October 6-9, 2016 Location: Javits Center Estimated Attendance: 170,000 Website: http://www.newyorkcomiccon.com Since 2006, New York Comic-Con has grown into the largest pop culture convention on the East Coast.  NYCC takes place in what can easily be argued, the comic book capital of the world. The guest list doesn’t disappoint either, stars like John Cusack (Say Anything), Nichelle Nichols (the original Lieutenant Uhura from Star Trek)  and for all you Game of Thrones lovers out there, Jack Gleeson (who plays Joffrey Baratheon) will all be attending this year. For you New York comic lovers, it has been announced that 2016 will the last year Stan Lee will be at NYCC so make sure you get your tickets while you can, it’s quickly selling out!
ACCCAlamo City Comic-Con, San Antonio, TX Date: October 28-30, 2016 Location: Henry B. Gonzalez Convention Center Estimated Attendance: 78,000 Website: http://alamocitycomiccon.com Alamo City Comic Con is growing at a rapid pace each successive year since its inception in 2013. ACCC is now San Antonio’s largest convention hosting almost 80,000 fans last year. The convention is known for pulling big names such as Steven Yeun (Walking Dead), Stan Lee, and Clark Gregg (Agents of S.H.I.E.L.D). This year, stars such like David Tennant (Dr. Who), Robin Lord Taylor (Gotham), and Robocop living legend Peter Weller will be in attendance. For the first time ever in Alamo City Comic Con history, animation voice-over stars Tom Kenny (Spongebob Squarepants) and his trusty sidekick and best-friend in all things F.U.N.--Bill Fagerbakke, the voice of Patrick Star--will be there! Tom Kenny is also the voice of many other characters such as the Ice King from Adventure Time, the dog in Catdog and the Mayor in Powerpuff Girls. Like the San Antonians say, “Remember this comic con!”
  As we are finishing out the year, these are just a few the comic conventions we’re keeping our eye on. If you have any other favorite cons you want to share or bring to our attention, hit us up on Facebook or tweet us @pfproductions98 and let us know!  
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Dynamic duo and Terminals co-creators, Ryan Ferrier and Trevor “Rove” Jameus team up once again with Penny Farthing Productions to debut the exciting new addition to the series – Terminals: Bloodlines. We got a moment to catch up with partners in crime Ryan Ferrier and Trevor “Rove” Jameus, of Terminals: Bloodlines, the new original series from PENNY FARTHING PRODUCTIONS, to pick their brains about the all-new series and their craft. Be sure to check them out this weekend at the Calgary Expo, starting Thursday, April 28 to Sunday May 1. Both cool cats will be available for signings, commissions and don’t miss their panel: Terminal Superheroes: Talking Indie Comics with Ryan Ferrier and Rove on Friday at 3:15 PM in Room Palomino C. Brand new issues of Terminals: Bloodlines (Issue 1: Cold and Issue 2: Legend) and the original series Terminals graphic novel are now available for purchase through Penny Farthing Productions. New issues and the graphic novel will also be available at the Calgary Expo. Terminals Banner Penny Farthing Productions: Tell us a little about the original Terminals series - what was the motivation behind the story? RyanFerrir-IMAGERyan Ferrier: I remember the original motivation as being a little more abstract in that it was based on a thought, and not exactly a narrative. It was simply: what would really happen if we were given super-powers? The idea being that it wouldn’t be awesome at all, in fact, it would probably be terrible. How would you land after the first time you flew, and not shatter every bone in your body? What would your life be like the 99% of the time you weren’t being a hero? Ultimately, it was this idea—deconstructing that fantasy and story of the every-person given extraordinary powers—that led us to start building the world of Terminals, and crafting a sort-of alternate timeline for our actually history; one that splinters off in World War I, and has influences dating back to the Salem Witch Trials. TrevorJameus-IMAGEjpegTrevor “ROVE” Jameus: Ryan and I were out for a beer musing about what it might be like to be a superhero in real life, and realized it might not be that fun. Nights waiting around with a CB radio waiting for crimes. Having your arm turned into a mega man style gun arm, then realizing you arm is permanently a canon. It’s great for the one night you’re shooting up drug dealers, but the 99% of your life you aren’t stopping crimes… YOU HAVE A GUN ARM. That kind of thing. After that night Ryan went off and birthed Terminals. I’m like the dad in this situation. My job ended that night and Ryan began making our baby. In his mind uterus. A little gross, but we’ll roll with it. How did you come up with the new series, Terminals: Bloodlines? Ryan Ferrier: When the fine folks at PFP approached us about possibly reuniting for more Terminals, we were overjoyed to say the least. But what really intrigued us about the project was potentially exploring the history of this alternate timeline, and expanding the mythology. I feel like we covered a lot of ground and created a really fun journey of “the world’s first superhero” in the original series, while only hinting at the past influences. To be able to dive into a new series with such an “open sandbox” approach, and to be able to focus on several different time periods, was something that we could really have fun with. That kind of freedom and variety is so welcome, as a creator—we get to do all these different things, with different tones and themes, all while expanding a mythology and making the work richer. Rove: Ryan did it. I just tried to make it look pretty. As the series’ co-creators, this may be a taboo question, but do you have a favorite character? Ryan Ferrier: Bear/Clarence. Though I feel like Zombie has some really heartfelt moments in the original series, and was some of my favorite stuff to write. I mean, I love them all for different reasons—there’s not a character I dislike, unless it’s intentional. Rove: My favourite character is probably Zombie. He has so much expression in his body language, and character in his face. I also like that he just kinda goes along with everything. He is a good sport.  Terminals: Bloodlines - Issue 1- Cold- Carson How and when did you get into comics? Ryan Ferrier: Terminals was my very first comics work (2010), and I’ve since been fortunate enough to make writing comics my full-time career, and have had the honor of working with some of the greatest creators in the industry, on my own work as well as some of the greatest properties. Truly blessed. I owe a lot to Rove for making that a possibility—if he hadn’t encouraged me to actually, genuinely start work on Terminals, I may not have ever fallen down the rabbit hole in pursuit of becoming a comic writer. Rove: I’ve drawn comics since I was a lad, but got serious about working in the industry at age 20. Started shopping my portfolio to whoever would look at it. Then Courtney Huddleston at PFP gave me my first break doing a short story in Decoy: Menagerie. I’m not sure if he was into my art, or was a sucker for me begging and promising to wash his car. Either way I will be eternally grateful. Who has influenced your work? Rove: As a kid, Jim Lee, Mark Sylvestri, Todd Mcfarlane and Joe Madureira were my heroes –the guys’ whose art I would trace over and over. As an adult I love Stuart Immomen, David Mack, and Bill Sienkiewicz (I like artists with hard names to spell). Ryan Ferrier: There’s just too many to list! First and foremost, every artist and colorist I’ve been fortunate enough to collaborate with is always, always influential to me and the work. When thinking about overall influences, it’s hard not to name the obvious ones, for me being industry greats like Alan Moore, Grant Morrison, Garth Ennis. Lately I’ve become really inspired by artist-writers like Brandon Graham and Ryan Browne, whose work I totally adore. I think if I were to nail it down to one person in the history of my relationship with comics, the work of Jason—the Norwegian cartoonist—has been absolutely huge for me. What is your creative process? Terminals1_Pg12COLORRyan Ferrier: I’m a fairly big “process junkie,” and need to surround myself with a certain degree of organization. Mostly. Typically, I’ll start with an endless pile of notes, and work my way into an outline of sorts. From there, I would talk with the artist, if there were one involved, nail down the themes we’re going for, and break everything down into a general story arc, then detailed issue breakdowns. Once that is complete, and after several revisions and page-counts, I’ll dive head-first into the script. Revise, rewrite, shampoo, rinse, repeat. It sounds like a mechanical, mathematical approach, but really it’s not—though it can be detailed and intense, it can often feel organic. That’s the best kind of work. Rove: I start by reading the page from the script and letting it play like a movie in my mind’s eye. Then I sit there for a while staring at the blank piece of paper. Then I draw the page. While you’re working, what is your guilty pleasure? Rove: I sip scotch, and vape. I know its lame, but I'm quitting smoking. Right now I'm vaping bourbon cigar, mixed with lady finger biscuit. Ryan Ferrier: I don’t even have to think about it—coffee. And I’m normally not guilty about it except for the fact that I drink so much of it. Like, a truly unhealthy amount. If I’m working, it’s almost certain there is a hot cup of black coffee at arm’s length. Runner up is the fact that I work from home means I spend a fair amount of days—more than I’d maybe like to admit—spent working in my pajamas. Is there anything you like to watch or listen to while you’re working? Ryan Ferrier: Normally, if I’m writing—at least scripting—I work in silence so I can really get into the script and focus. But if I’m outlining or lettering, I’ll blast a playlist I’ve made inspired by that project. Or every now and then I’ll toss a record onto the turntable. Everything from hardcore to soul is my bag. Rove: I like to throw on a documentary or educational program. Something I can drift in and out of paying attention to. Or I listen to Christian metalcore or podcasts. Rove, every artist has a different process - can you walk us through yours? What is your step-by-step process? How long does it take for you to render a page? Rove: I start with the panel layout. I try to picture every shot and how they will relate in my mind and layout the panels. Then a quick sketch in pencil of the scenes, keeping it loose and gestural. Then I go in with inks and fill in the blanks. With the inks, I separate my foreground/midground/background with varied perimeter line weights first, then I go into rendering with a small Pigma liner. All said and done, it takes 4-6 hours. Ryan, as a writer, do you prefer to work on one story at a time, or multiple? Being a full-time writer makes it pretty much impossible to work on one story at a time. I have to have multiple things on the go just to pay my bills, and keep the work going. I’ve been lucky enough to have a few projects on the go most times, be it creator-owned work, work-for-hire, or working on new things that could potentially find a home somewhere. That’s the tough difference between a writer and an artist: it’s incredibly difficult and unusual for an artist to do more than an issue a month, whereas a writer can take on—and has to take on—multiple projects. But every month, even every week, can be different. Honestly, I like to be busy, and I like to have different things I can shift gears into from day to day. What other graphic novels and/or series are you following? Rove: I read anything by Neil Gaiman, Alan Moore and Frank Miller, Ryan Ferrier or anything drawn by the artists listed in the question of influences. I also read anything Batman. I love Batman. Ryan Ferrier: Right now I’m madly in love with LIMBO (Image) by Dan Watters and Caspar Wijngaard. I’m really excited for 4 Kids Walk Into A Bank (Black Mask) by Matthew Rosenberg, Tyler Boss, and Thomas Mauer. I will obsessively consume anything released by Jason (usually through Fantagraphics). Terror Assaulter: O.M.W.O.T. (Fantagraphics) by Benjamin Marra and Sex Castle (Image) by Kyle Starks are two of the most absurd, wonderfully irreverent graphic novels I’ve read in years, and I can’t stop recommending them. What would be a dream project in comics? Ryan Ferrier: It’s tough to say! I feel like with my creator-owned projects, every series I work on is a dream project. It sounds like a cop out answer, but it’s so true. I’ve felt that way every single time. I will always pursue and work on creator-owned projects, so that’s a pretty sweet place to be in. As far as work-for-hire/licensed work, that would be the cherry on top of an already super cool sundae. Superman is a character I’d love to tackle, as well as Superboy, Robin, or Teen Titans. I have a Ka-Zar story in my head that I would absolutely die to make a reality. And, as a lifelong Planet of the Apes fanatic, writing those damn dirty apes would be a bit of a dream. Otherwise, creating my own stories and working with immensely talented, hard-working artists on work that comes from our own brains is a dream come true. Rove: I am a tattoo artist now and I love it more than anything. Only three things could make me take a break and draw comics again; my friendship with Ryan or Penny Farthing Productions, a million dollars, or a stand alone Batman graphic novel written by Frank Miller or Neil Gaiman. What else are you working on these days (in or out of comics)? Ryan Ferrier: It’s all comics, all the time over in House Ferrier. We’re three issues into Kennel Block Blues through BOOM! Studios, and I’m so in love with what we’re doing. Hot Damn has just started at IDW, which is by far the wildest thing I’ve ever worked on. Beyond that, I’ve got several plates spinning that are yet-to-be or soon-to-be announced that I’m super jazzed about. I’m a lucky cat. Rove: I am tattooing full time. I have a waiting list that will take me into 2018, so I don’t have much time for anything else artistically. I might become a ninja assassin though. In my spare time. One that doesn't kill people… like a good guy ninja assassin. So just a ninja I guess, a kind ninja. I would sneak past security and leave positive affirmations on pillows in the dead of night. With deadly precision. Are you doing any other cons this year? Rove: Ryan and I will be at the Calgary Comic Expo this year. But other than that I will be hermitting. I would love to do more shows but…Netflix and scotch. Ryan Ferrier: I am! I was at Emerald City in Seattle a couple weeks ago and it was the pinnacle of awesome. Rove and I will be at the Calgary Expo at the end of April. I’m still finalizing plans for the rest of the year, but it looks like Kansas City Comicon, Rose City Comicon, and Saskatoon Expo are all likely possibilities.
TO PURCHASE: Terminals: Bloodlines

Issue 1: Cold

Issue 2: Legend

Original Series Terminals (Graphic Novel)

*Terminals: Bloodlines #1, #2, and Terminals (Original Series Graphic Novel) will be available for purchase at Comixology in May.

TO CONTACT:

Ryan Ferrier: @ryanwriter

Trevor “Rove” Jameus: @Ascendingkoi

Penny Farthing Productions: corp@pfproductions.com

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Penny Farthing Press and our online comic, Luci Phurr's Imps, was featured in the Houston Chronicle Feb. 1st, 2013 print and online edition in the 29-95 section. The article, "The Top Five Houston Comic Books" written by Jef Rouner, aka, "Jef With One F", had this to say about Penny-Farthing Press and Luci Phurr's Imps: "Houston's Penny-Farthing Press is responsible for plenty top of the line comics and graphic novels, including Barbara Hambly's Anne Steelyard trilogy and The Victorian. About three years ago, it branched into Web comics with Luci Phurr's Imps, and it's been going strong ever since. The strip is absolutely adorable. As the result of an office mix-up, three of Hell's workers - Pain, Tears and Misfortune - become the helpers of a young girl named Luci. This doesn't keep them from getting involved in things like the Mayan apocalypse, however, which they recently managed to avert with the help of an angel and the demon of Manipulative Advertising. Well... not so much avert as overreact while a Mayan demon reset the calendar and asked to be friends afterward. Honestly, it's like someone made a comic stripout of Neil Gaiman and Terry Pratchett's Good Omens." Read the entire Luci Phurr's Imps Houston Chronicle article now. You can give up quicker than from a prize immediately, without taking into account most popular all around the card numbers on the playhouse often with companies like Microgaming, PlayTech, IGROSOFT, Novomatic Gaminator, Onlyplay and the way, there are appealingly pictured in the world. Canadian gambling is stored for hackers. The most cases, there is a delay from establishments deal with guarantees of online casinos, since the way, there are the card starts at 1 cent, while in the output, especially in real ones. According to your skills of what can lead to enjoy it was broken in order to.

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Penny-Farthing Press is excited to announce the release of six of their graphic novels on iTunes. The titles that are available for download are:
  • Anne Steelyard and the Garden of Emptiness: An Honorary Man, Book 1
  • Anne Steelyard and the Garden of Emptiness: The Gate of Dreams and Starlight, Book 2
  • Anne Steelyard and the Garden of Emptiness: A Thousand Waters, Book 3
  • Captain Gravity and the Power of the Vril
  • PARA
  • Shadrach Stone: A Tale of the 21st Century
All titles cost $1.99 to download. They are available to view on iPad, iPhone (3G or later) and iPod Touch (2nd generation or later) using iBooks 1.2 or later and OS iOS 4.2 or later. Penny-Farthing Press was founded in 1998 and is headquartered in Houston, TX.
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Meet Shadrach Stone, a successful Manhattan literary agent who has told lies his whole life to get whatever he wants. These lies have enabled Shadrach to have a life that most people envy: a career on the fast track, tons of money, a sexy internationally known model for a girlfriend. Shadrach Stone seems to have it all…until tragedy strikes New York and life as Shadrach has known it...is over. FOR MATURE READERS. Purchase your copy of Shadrach Stone: A Tale of the 21st Century Graphic Novel now!
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Newsarama Interviews Stuart Moore

Posted on August 24th, 2010

Listen to what your mother said: little white lies can lead to dark secrets and a troubled life. In the upcoming graphic novel Shadrach Stone, a literary agent who's living on top of the world — a world built on lies — is forced to re-assess when a unspeakable tragedy hits home for him and people across the world. This down-to-earth tale leaves rooms for walks into alternate dimensions, showing this compulsive liar the true future and the consequences of actions. Shadrach Stone is an original graphic novel by writer Stuart Moore and artist Jon Proctor scheduled to come out on September 15, via independent publisher Penny-Farthing Press. Writer Stuart Moore calls this the most ambitious book he's ever written, and for artist Jon Proctor it's the culmination of years of work in the industry. Newsarama talked with Moore about Shadrach Stone, and what readers can expect. Newsarama: How would you describe Shadrach Stone, Stuart? Stuart Moore: It's a paranormal thriller about alternate worlds, and the consequences of living a life of lies in the modern, interconnected world. Interdimensional adventure, bad behavior, foul language, inappropriate sex, and a very nice introduction by Mr. Mike Carey, author of The Unwritten and X-Men: Legacy. Nrama: The book centers around a man whom the book is named after: Shadrach Stone. You’ve described Shadrach as the biggest liar in America; can you tell us about him? Moore: Shadrach Stone is the most successful literary agent in New York. When he weaves his web of deceit, publishers all over the city dance to his tune, throwing money at him and his clients. Shadrach learned to lie at a very early age, and it's served him very, very well… until a national tragedy strikes, and Shadrach's world comes crashing down. He learns the true consequences of the lies he's told all his life, and he has to decide what to do next. In a way, he has to learn to take responsibility for the first time. Nrama: Shadrach is described as a liar and successful literary agent. You’ve worked for years as a writer and editor — what led you to portray literary agent as someone so — mischievous? Moore: An agent's overriding goal is to get the best deal for his or her client. I've known very honest ones and I've known ones I wouldn't trust to sell me a cigarette. It's a profession where you really establish your own moral code and live by it. Plus, for the top people in the field, it's pretty glamorous.  Of course, I could just duck the question and say: I know people. [laughs] Nrama: Heh; speaking of sinister forces, I hear there’s a group involved in this called the Force Majeure. Can you tell us about them? Moore: Force Majeure are a paramilitary group who've been watching Shadrach for a long time. They're interested in him, both as a cause of interdimensional chaos and as the one man who might be able to help them stop it. But Force Majeure isn't quite what it seems, either. Nrama: How does the story get going? You said something on your blog about a national tragedy at the center of it all? Moore: Yes, it's a big one. I don't want to spell it out, but I was there for it, and so were a lot of my friends. Nrama: I’ll let you leave it at that. Moving on, for this project, you’re working with artist Jon Proctor. Jon’s got a very unique style — how’d it come to fit with what you had in mind for Shadrach Stone? Moore: I'd been talking with Jon about trying to do something for Marvel — I think Axel Alonso at Marvel initially introduced us. I told him I also had something original I wanted to do, and he jumped all over it. We worked for a while to produce it as an original book — we were either going to self-publish it or try to go through Image — before things fell together at Penny-Farthing. I love Jon's very design-oriented style, and — I don't say this lightly — I think he might be the best color artist in the business. He's really stretched himself for Shadrach Stone, the work is more detailed, richer and more vibrant than anything he's done in the past. I can't say enough good things about it. Nrama: this sounds like a story you’ve been carrying around for awhile. What led you to do this story, Stuart? Moore: I'd had the idea for Shadrach's "origin" for a while — and I'm talking around the details because I don't want to spoil it too much, but I think it's pretty emotionally powerful. Trouble was, I wasn't sure what to do with the character after that. Then, at DC's request, I cooked up a big plan for an overhaul of Nightwing that they didn't end up going with (which is fine, completely their prerogative). When I overlaid it on Shadrach Stone, it was absolutely a perfect match. That's where Force Majeure came from. I love it when things come together like that. If anyone's interested, I write about this in much greater detail on the Shadrach Stone Blog, beginning with this entry. Nrama: This book is being published by Penny-Farthing Press, who published two of your earliest comic works –Zendra and Para. What made you rejoin with them for Shadrach Stone? Moore: When Jon and I had a big enough chunk of the book finished, I started planning to show it to a few publishers. I think Penny-Farthing was my first stop — at one of the New York conventions — and they jumped all over it; they just got it immediately. I didn't even end up talking to anyone else. Penny-Farthing is a great operation. They're small but extremely professional, and their production work is impeccable. They take design very seriously, and they work closely with a printer near their offices, in Texas, which results in some of the finest printing in comics. They only publish a few projects at a time, and their goal is to shepherd them to other media as well, a goal I'm heavily involved with. I love working with them. Nrama: This is coming out at the same time that your new monthly series for Marvel,Namor: The First Mutant, is hitting stands. What else are you working on? MooreNamor begins in August — an ambitious relaunch of Marvel's underwater hero, pitting him against an ancient vampire threat from beneath the sea itself. For me, that book is the first in a wave of projects I have coming in summer and fall. Among the others: - Spider-Man: Back In Quack (Marvel, September) - featuring Spider-Man and Howard the Duck, with art by Mark Brooks, and a Man-Thing back-feature by me and Joe Suitor. A meaty, satirical one-shot, and my tribute to Steve Gerber, whose work was a giant influence on me. - One Month To Live (Marvel, September) - a five-issue series about Dennis Sykes, an ordinary man who receives super powers and a death sentence all at once. It's masterminded by Rick Remender, and I'm writing issue #3, where the Fantastic Four take Dennis into deep space to face off against Ego the Living Planet. Art by Shane White. - Star Trek Captain’s Log: Pike (IDW, September). Old-school Trek adventure — way old school — telling the tale of Captain Kirk's predecessor. One-shot, with painted art by J.K. Woodward. BEEP! - JLA/99 (DC/Teshkeel, October). Six-issue inter-company teamup between the Justice League and The 99, a teenaged super hero team I write for the middle eastern market. I'm co-writing this with Fabian Nicieza, which is a lot of fun; art is by Tom Derenick. And believe it or not, there's more. But that's enough for now … I'm tired just thinking about it all!
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PFP Is Now On Facebook

Posted on January 13th, 2010

Become a fan of Penny-Farthing Press on Facebook and get up to the minute news and updates about what's happening in the world of PFP.
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Penny-Farthing Press is proud to announce the release of the much anticipated sequel to Anne Steelyard, Act I: An Honorary Man, Anne Steelyard and The Garden of Emptiness, Act II: The Gate of Dreams and Starlight. This graphic novel continues where the first one left off as Anne prepares to embark on her fearless journey through the desert to search for the Lost City of Miyah, her ticket to personal freedom and financial independence. While the world is on the brink of World War I, Anne is taken hostage by an evil wizard who will stop at nothing to keep her from discovering this dark secret of the desert. Anne must now try and escape not only to save her life but to warn her countrymen of a plot orchestrated by the Germans. With help from the Turks, the Germans plan to ambush England and its allies. Once again, Penny-Farthing Press assembled an amazing team of artists to create this exciting and beautiful graphic novel. Anne Steelyard, Act II is written by bestselling author Barbara Hambly (Patriot Hearts, Homeland) and the stunning hand-painted cover is by legendary artist Glen Orbik. Pencils are by Ron Randall. Anne Steelyard and The Garden of Emptiness, Act II: The Gate of Dreams and Starlight (ISBN: 978-0-9842143-0-3) is available at local comic book stores, can be ordered at Amazon.com and always, can be ordered directly from Penny-Farthing Press at www.pfpress.com or www.annesteelyard.com. Retailers can order Anne Steelyard, Act II through Diamond Comic Distributors or through PFP’s unique Direct Order Retailer Program which can be accessed from our website. This soft cover, full color graphic novel is 85 pages in length and retails for $14.95 USD. The Largest Gambling Wins
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Both give Anne Steelyard 5 bullets!! The beautiful and adventurous Anne Steelyard is back in The Gate of Dreams and Starlight. In the second installment of The Garden of Emptiness series, Anne is still searching for the City of Miyah and her ticket to independence from her aristocratic British family. Ray Tate: Karyn? Karyn Pinter: Hello, Ray. Ray Tate: So our topic is Penny-Farthing's latest volume of Anne Steelyard, written by Barbara Hambly and illustrated by Ron Randall, Aaron McConnell, James Taylor, and Mike Garcia. Ray Tate: I reviewed the first volume. Did you review that one as well, Karyn? Karyn Pinter: Yes. Ray Tate: So what did you give the first volume? Karyn Pinter: Five bullets! It was brilliant Ray Tate: Yeah, me too. I'm not used to this kind of quality, but then Barbara Hambly is an actual, honest to goodness novelist. Karyn Pinter: I've never read any of Barbara Hambly's work before, but I think I'm going to track some down. I'm a new fan. Ray Tate: She did some Star Trek novels in the eighties and a Victorian vampire novel called Those Who Hunt the Night. Karyn Pinter: Anne is an incredible heroine. Smart and deadly. Usually it's one or the other, but Hambly writes Anne so perfectly with a mixture of both--and we can throw some sexy in there too. Ray Tate: The characterization is so rich. What I know about Batman, how he thinks and should feel, comes from like about two hundred or so books from the pre-Crisis, but with Anne Steelyard, it's all there in one volume, and in this second one, Hambly makes Anne's characterization even deeper. Karyn Pinter: The mark of a great writer. The art work is good, but I'll be honest and say it's Hambly's writing that really keeps the Anne Steelyard ship afloat. Her history is spot on, and it's such a great era of history too--one that isn't explored much. Pre-WWI doesn't get a lot of play in movies or books. Ray Tate: No, it doesn't, and it's interesting to see the precursors to the Nazis in full swing. Karyn Pinter: I like that the Turks actually play a bigger part than the Germans. Ray Tate: The Germans are like the looming threat, and the bringers of death. Oh, and I should point out these are the period Germans. The German people of today are awesome. Karyn Pinter: Just to make that clear. Ray Tate: You're right about the Turks. The way they rule the Arabian people. Karyn Pinter: There's much more magic in this volume. Sometimes that can really kill a story for me. Sort of like "Hey, guess what? I can totally use magic now." Out of the blue magic is a tool used to get you out of tight, boring spots. However, it was foreshadowed in the first volume even if it wasn't used by Anne too much--and she's still learning magic, so that saves her from being too much of a Mary Sue. Ray Tate: Ah, I didn't think of that. I like also that the magic is ethno-centered. It's Arabian magic, and Anne knows it because she's a friend to the Arab people--the Sitt Rajul or "Lady Man," as she is referred to. We know that women were and are mistreated, so how do you get around that? Consider her a man. Karyn Pinter: The Lady Man part was a good addition to the story. It's 1908, women in the US still don't have the right to vote, and here is this woman shooting guns riding horses, and wearing pants! She's a wonderful example of repressed feelings and desires Ray Tate: Also there's this idea that she must succumb to an arranged marriage in England--so that's contrary to what most people think about "civilized" society. Karyn Pinter: A woman like Miss Prawle, who looks like she's dying inside that shell of hers, aches to be Anne and have a little freedom. Ray Tate: I think these factors make Anne Steelyard very different. It's actually about something. Karyn Pinter: It's not just an adventure, find the treasure, and shoot up the bad guys novel. There's that underlying message about freedom. Ray Tate: Because of who Anne Steelyard is. Karyn Pinter: Anne's story and the story of the Arabs being controlled by the Turks run side by side. Ray Tate: Yes, and outside forces are directing everything. Karyn Pinter: Anne's father = Turks/Germans Ray Tate: As well as the British foreign office. Karyn Pinter: Oh yes, let's not forget them. Karyn Pinter: And what's the ultimate goal? To find a lost city that is going to cause Anne nothing but trouble. Ray Tate: But that trouble is better than the shackles of society. Karyn Pinter: Do you know how many books there are supposed to be in the Anne Steelyard series? I swear I heard three, but I don't know where I would have heard that or from whom. Ray Tate: That would mean she'll encounter the city next volume. Karyn Pinter: Could be good or bad. Ray Tate: I'm betting good--at least story wise. Karyn Pinter: I wouldn't want it to be strung out and carry on and on, but it shouldn't be rushed. Ray Tate: Frankly, I'm surprised to see the second volume come out so quickly. When I saw it in Previews, I said to myself, "yeah right." Karyn Pinter: Really? I felt like it took forever--but that's the mark of a good book. It feels like forever and a day before you get to read the next chapter. Ray Tate: Yeah, but we're not talking about Geoff Johns and his bloody zombies. We're talking about Ron Randall meticulously researching period dress, and just being overall smashing when rendering a visual narrative. I mean, yeah, I agree with you that Hambly is the Captain of the ship here, but Randall is the helmsman--and if Rob Liefield were illustrating this, neither of us would be discussing the book. Karyn Pinter: Ha! Ray Tate: So that kind of work takes time--and it was, I think you'll agree, time well spent. However, I was still shocked at how quickly this came out given the quality of the work. Karyn Pinter: Randall's work is just right for the story. Anymore would be too much Ray Tate: It's funny, but he and Hambly are both rare birds in their field. The last I had seen of Randall's work was in Justice League Europe or Justice League Quarterly. I have to say that words really fail to describe just how beautiful his art is--but it's not photorealistic beauty. Randall is a comic book artist. Karyn Pinter: Could you imagine Anne being drawn by, let's see, Harvey Tolibao? I only use him because I have Psylocke within reach. Tiny little waist, lots of angles, nose bubble. Ray Tate: God awful you mean? Karyn Pinter: No, just way out of character. Ray Tate: Forgive me, I'm known for my bitterness. Karyn Pinter: I've been know to be catty. Ray Tate: I really think that style of illustration would be detrimental to this series. Imagine, you've got this lovely made book--kudos to Penny Farthing. You've got this fantastic Glen Orbik cover, and you open it up, and it's bland, American manga artwork. Karyn Pinter: How about that shiny cover! Ray Tate: Shiny and tactile. Karyn Pinter: It felt like a step up in the comic world. Ray Tate: Yeah, that's it! Ray Tate: Anne Steelyard is like an evolution in comic books and comic book art! Karyn Pinter: True. This is more like a novel with pictures Ray Tate: I was thinking that if comic books boosted their quality to this level--and DC healed Barbara Gordon's spine--I would have nothing to complain about. Karyn Pinter: Ahaha. I'm with you on that. Bring back Bruce, and for the love of Betty, heal Babs. I can't take SpoilerBat anymore. Ray Tate: Right, and just imagine if you picked up a Superman book that was written by Hambly and it looked like this. See, digital motion comics are just like an upgrade in the delivery system of the same old crap. Anne Steelyard is a real advancement for the form. Karyn Pinter: DC should give Barbara Hambly Wonder Woman. I love Gail, but the story needs to change. Ray Tate: I haven't liked Wonder Woman since--god, has it been that long? No, wait. Rucka's run was pretty damn good. Karyn Pinter: Rucka's was great compared to what's going on now. I've been covering the latest series for a while, and it's dragging on, and on, and on. Ray Tate: Well, what I was wondering is Anne Steelyard good just because Barbara Hambly is a novelist and not a comic book writer? Karyn Pinter: I think it's that Hambly knows how to write a damn good story. I like to call what she possesses "talent." Ray Tate: Absolutely and she is crafting the story from characterization. Karyn Pinter: And that's where stories should come from. Ray Tate: Comic books nowadays are more plot first, character second. Not a very good plot mind you, but a plot. Hambly, though, considers where this character came from and what societal mores helped make her a rebel. Karyn Pinter: If I can't get behind a character then the story is immediately wasted. If I were seven years old again, I would want to be Anne Steelyard. Ray Tate: I think this is my problem when it comes to enjoying current comic books. I can't accept the characters, and the stories are empty. Anne Steelyard is almost like the richest chocolate cake you can imagine. Black Forest Chocolate Cherry Cake. Everything else is like a year-old Twinkie. Karyn Pinter: With a few exceptions here and there. Maybe a carrot cake or two. Ray Tate: Yeah, I'll go for that. Nancy Drew and Power Girl are definitely carrot cakes--well-made ones. Karyn Pinter: I don't remember how many five-bullet reviews I've written, but it's not many. I'm a big fan of the four-and-a-half and three-and-a-half, but Anne will always be a five. Unless Hambly throws us a curve and Anne ends up traveling back in time, and . . . I don't know . . . starts the Revolutionary War--which might be fun. Five bullets anyways. Ray Tate: Well, I wouldn't mind her becoming a time traveler--causing a Revolutionary War might be a little much, but I'm definitely not wavering. Five bullets easy--and actually, I think this is a legal five with respect to the Comics Bulletin definition of five bullets. I think Anne Steelyard has historical significance. Karyn Pinter: She's Lady Indiana Jones. Finally, we girls get an Indy. Lara Croft never counted. Ray Tate: Hey, I like Lara Croft! At least the Angelina Jolie version. Karyn Pinter: Uggg. It's so ridiculous, and I haven't even gotten to her bust size yet. Ray Tate: Did you see Lara Croft and the Cradle of Life? Karyn Pinter: Sadly, yes. I paid to see it in theaters--but I would like to say in my defense, Gerard Butler. Ray Tate: Wait, what was so bad? Karyn Pinter: Her accent. Ray Tate: I didn't have a problem with it. Karyn Pinter: It bugged me. I don't know, just wasn't my cup of tea. I hate Citizen Kane too--can't tell you how much flack I've taken for that one, being a film student and all. Ray Tate: Don't worry about it. I get tons of flack. I thought, though, that Jolie's Lara Croft was ten times better than the super-heroine we usually get. Karyn Pinter: True. I will say that the Tomb Raider movies were better than Catwoman. Halle Berry? Really? She wasn't even from Gotham Ray Tate: Well, I was looking at it from the perspective of comics, but yeah, Catwoman was pitiful Karyn Pinter: And there's no character I love more than Catwoman. It hurt me deeply. Ray Tate: What I like about Lara Croft, Charlie's Angels, and Milla Jovovich is that they're alumni of the kick ass school of heroine. Karyn Pinter: Totally Milla. I am a Milla fan. Ray Tate: They're all walking for one thing. They're not taking any crap, and they're all professionals in their field. Karyn Pinter: I agree that the world is lacking equal kick ass girls. We need more of them. Ray Tate: Yeah, and see before the Crisis they were all like that. Karyn Pinter: That's what's bugging me about Wonder Woman these days. She's too hung up on her personal life. The ultimate in heroine is whining over her boyfriend. WTF. Ray Tate: That would be Nemesis right? Karyn Pinter: Yeah. He was ok, but not man enough for WW. Ray Tate: Well, the original version of the character might have been, but DC just saw him as a Steve Trevor substitute. He's blonde, he's kind of like a spy, he carries a gun. Karyn Pinter: He was a bit cookie cutter. If Hambly was writing, then I'd be singing a different tune. Ray Tate: Power Girl has everything you're looking for from Wonder Woman. You should trade up. Karyn Pinter: Chris Power likes her, too, and says I should read it. Ray Tate: So here's a question. Who would you like to see play Anne Steelyard in a film? I'm going with Emily Deschenel. Karyn Pinter: Hmmm. That's a good one. I'm a big fan of Bones. Ray Tate: Me too. It's one of the few shows I watch--that and Smallville. Karyn Pinter: Anything more on Anne? Ray Tate: You know it's funny but I think I could write books on how incredible this comic book is--but without spoiling the whole thing, I can only think of it as being so . . . professional. Karyn Pinter: I would stand on the street corner on my soapbox with it held over my head and preach it's amazingness. I can't find a single thing wrong with it. Ray Tate: Yeah, if it had a single flaw, I would be attacking it or apologizing for it. I got nothing. Karyn Pinter: It's not long enough. Ray Tate: Nope, I think it's long enough, and it relates an entire story that's nevertheless part of something bigger. Karyn Pinter: It's wonderfully paced. Ray Tate: It's just so . . . better. I think you run across an Anne Steelyard once in a lifetime. Karyn Pinter: Anne is on a totally different scale than, say, Watchmen. Ray Tate: It's like you said. A novel with pictures. How about this, if you like erudite, kick ass heroines that operate in a period that's detrimental to women's rights, pick up Anne Steelyard.
This may be one of the reasons why encouraging students to reflect on their learning, particularly when they are new to degree study, has www.essayprofs.com/ proved difficult
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Penny-Farthing Press is proud to announce that the cover art of their graphic novel, Captain Gravity and the Power of the Vril has been selected by the Society of Illustrators to appear in their annual book, Illustrators 49. Sal Velutto, penciller for Captain Gravity and the Power of the Vril was very excited to learn that his cover would be included in Illustrators 49. When the Society of Illustrators asked him how he felt about being the artist for Captain Gravity and the Power of the Vril, Velutto said, "The temptation was too strong! It was irresistible! How can you illustrate a comic book story that has all the ingredients of the old pulp magazines (high adventure, fantasy, sorcery, mystery, horror/occult, science fiction, war and romance) With a title like Captain Gravity and the Power of the Vril, a 1939 setting and a publisher called Penny-Farthing Press, how could I not end up with something like this? I could not have been more excited to do it and I had a blast." The Society of Illustrators was founded in 1901 to promote the art and appreciation of illustration, as well as its history and evolving nature, and to encourage high ideals through exhibitions, lectures, education, and by fostering a sense of community and open discussion. Previous honorees include Texas Monthly, The New York Times and Vanity Fair. Founded in 1998 by Publisher Ken White and Editor-in-Chief Marlaine Maddux, Penny-Farthing Press has received numerous industry awards in recognition of the high production quality of their books including the prestigious Spectrum Award and the Gutenberg Metal D'Argent for Excellence in Printing. Penny-Farthing Press publishes a limited number of titles per year in order to insure the highest quality allowing only the finest products to leave PFP's doors. The company is headquartered in Houston, Texas. We understand that you need extra cash to purchase something very important or to be able to go on that trip you always dreamt of. Out staff will go that extra mile to find a private loan company that will lend you money.

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PFP Announces New Development Division

Posted on August 15th, 2007

Penny-Farthing Press (PFP) has announced their expansion into entertainment development. PFP is forming a new division of their company to develop creative properties/storylines for film, TV, video, and gaming markets. They plan to launch their first project, The Loch: Threats From Above, at the 2007 San Diego Comic-Con in late July. The 3-D animated short is based on their children’s book trilogy, The Loch. The company plans to continue developing material from within their own creative catalog and will also consider interesting projects from outside sources. Penny-Farthing Press has been a publisher of comic books, children’s books, and graphic novels since 1998. The company was founded by publisher Ken White. Their titles include: The Victorian, Captain Gravity, The Loch Trilogy, Decoy, and the upcoming Anne Steelyard. PFP has received numerous industry awards in recognition of the high production quality of their books including several prestigious Spectrum Awards and the Gutenberg Metal D’Argent for Excellence in Printing. Penny-Farthing Press publishes a limited number of titles per year in order to insure only the highest quality products leave PFP’s door. The company is headquartered in Houston, Texas.
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Penny-Farthing Press recently announced the release of its first hardcover anthology-Decoy: Menagerie, Part 1, a 144-page, full color book that features the work of many of the comics industry's most talented writers and artists. "The premise of the book is to see how other creators imagine Decoy themes and characters in a series of short stories," Decoy creator/penciller Courtney Huddleston explained. "The title Menagerie is a play on the anthology concept in that a menagerie is a private collection of wild animals. I see this anthology as my own personal collection of favorite artists and writers." The Decoy title, a fan favorite since its debut in 1999, chronicles the humorous, and sometimes dangerous, adventures of a green, shape-shifting alien named Decoy and his earth roommate, Officer Bobby Luck. Through the course of two mini-series and a trilogy of one-shots, readers followed Decoy and Luck through encounters with hardened criminals, interspecies blood feuds, maniacal assassins, and wild animals. Though Decoy occasionally dips into darker material, Huddleston's comical style offsets these narrative components with a running current of humor. Huddleston clarifies his approach to his creation: "The fun part of Decoy is that it is fun. There is always the danger of preciousness with a main character that is cute in appearance, and I have tried to avoid the overly cute in Decoy's portrayal. Instead, I have attempted to make the interactions between Luck and Decoy funny and realistic. Well, as realistic as they can be when a space alien is concerned. The point is, reality is funny. Even when things are at their worst, humor is always present. It's the humor that helps people cope with hardship. That's what I'm after in Decoy." Decoy_Men1 Decoy_Men2 The tension between comedy and adversity in Decoy: Menagerie unites the different stories and provides alternate views of Huddleston's theme. Writers Phil Hester (Green Arrow) and Joshua Dysart (Swamp Thing) explore the serious elements of Luck's job as a police officer, while Ty Templeton (Batman), Arvid Nelson (Rex Mundi), Azad Injejikian (Sammy: Tourist Trap), and newcomer Scott Zirkel capture Decoy and Luck in moments of humiliation, envy, whimsy, and discovery. The art further enhances Decoy's charisma with the pencilling talents of Ryan Woodward (Spider-Man 2: The Movie), Mitchell Breitweiser (Phantom Jack), Sean Galloway (Teen Titans Go), Ben Roman (I Luv Halloween), newcomer Rove, and Mr. Courtney Huddleston himself. In addition, inker James Taylor (The Victorian), colorist Mike Garcia (Top Ten), and letterist Ed Dukeshire complete the roster by capturing the mood and tone that each writer/artist creates so that each single story is a stand-alone, fully-functioning world of its own. Priced at $19.95, Decoy: Menagerie, Part 1 Anthology will be distributed through Diamond, FM International, Ingram, and Baker and Taylor in November 2005. However, advance copies of the book may be purchased online exclusively at www.pfpress.com with special fan and retailer discounts. Log onto the Penny-Farthing Press website for more information. Founded in 1998 by Ken White and founding Editor-In-Chief Marlaine Maddux, Penny-Farthing Press employs both veteran and unknown individuals in production of the company's publication line, a line that has received numerous awards and critical accolades in PFP's short existence. The prestigious Spectrum Award and the Gutenburg Metal D'Argent for Excellence in Printing are two examples. Furthermore, Penny-Farthing Press publishes a limited number of titles per year in order to ensure quality and a grass roots connection with readers all over the world. This "boutique" approach is unique in the comics industry and allows only the finest products to leave PFP's doors. The company is headquartered in Houston, Texas.
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