In keeping with tradition, we’re ringing in the new year by looking at some of the stuff that’s impacted our little corner of the interweb over the past twelve months. This includes some of the news bits the Fabler Blog has reported on, some of the changes and landmarks the main site has experienced, and of course, a Coles Notes list of the interviewees we’ve featured on the site throughout 2010.

Let’s start by talking about The Fabler directly. Our second year online has been filled with small triumphs (and minor road bumps), but a few in particular stand out.

First, our presence at the 2010 Calgary Comic and Entertainment Expo was much stronger than at the ‘09 Expo, which was when the Fabler first launched. The 2010 Expo gave us a great chance to network, spread the good word about the site, and nab some pretty nifty interviews in our first (and, to date, only) Fabler Blog video segment. The Expo itself was a huge success last year, bringing in over 20,000 attendees – over twice the amount of the 2009 Expo. We were thrilled to be a part of that.

The Fabler’s next landmark came in May, when the site’s founder, Bruno Steppuhn, took home the Digital Alberta Media Fresh Award for Best Use of Social Media on behalf of The Fabler. You can read more about that in Bruno’s post here.

Shortly after, we launched our first major comic contest, which ran from June 15th to September 15th.  The Fabler gave away a Sony PS3 Bundle, a Wacom Intuos4 XL, and for first prize, a Wacom Cintiq 21UX. Competition was stiff, as many new contributors to the Fabler submitted a diverse and colourful array of sequential entries into the contest, but ultimately there could be only one grand prize winner. The first place finalist was Scott Ferguson, for his comic Scout Crossing.

As a reminder to all interested parties, the second Fabler Comic Contest started on October 15th and is currently still on until January 15th. If you’re interested in tossing your hat (comic) into the ring (upload section), you can view the full rules and regulations here.

To briefly touch on some of the larger news items we mentioned on The Fabler Blog, the year opened with a fresh new lawsuit between legendary comic artist Jack Kirby’s heirs and Marvel regarding copyrights to the work he did on a tonne of iconic comic characters. The latest news on this legal battle is that there really is no news. Honestly. There was a counter-suit at some point, Marvel wasn’t forced to pay damages, the Kirby Estate’s case wasn’t thrown out… It’s all sitting fairly stagnant in judicial purgatory.

In Canadian Comic news, Seth’s George Sprott: (1894-1975) unsurprisingly garnered the Doug Wright Award for Best Book, while Michael DeForge won Best Emerging Talent for Lose #1, and the Pigskin Peters Award went to Marc Bell for Hot Potatoe. Meanwhile, over on the Joe Shuster Awards side of town, Stuart Immonen earned Best Artist, Maryse Dubuc won Best Writer for her work on Les Nombrils, tome 04, and Karl Kerschl’s fantastic comic The Abominable Charles Christopher was named Best Webcomic.

In July, the world of digital Indie comics was changed forever when Zuda Comics announced it was shutting down. Zuda was DC’s online imprint and a place for independent creators to post their works in hopes of earning a publishing contract with one of DC. They were shut down as part of a DC corporate restructuring that also saw half of their staff relocate from New York to California.

This led into a host of additional major industry announcements that came to light around September and October. The Wildstorm Comics imprint was shut down, much to the chagrin of fans of The Authority and Astro City. DC and Marvel announced that their monthly issue comic prices would drop an entire dollar in 2011. Dark Horse announced a new digital publishing initiative, also coming in 2011.

As we venture forward into 2011, the state of the industry seems to finally have some sort of gameplan for adapting to a changing market. That market is of course the digital market, which had grown from an estimated value of around $1 million in 2009 to $8 million in 2010.

The Fabler Blog will continue to have its eye on the industry in this regard, and we’ll post the ‘news that fits’. Whatever that means.

This year you can also expect to see more big changes in store for the main portion of The Fabler, but I wouldn’t want to ruin the surprise on that front.

In bringing this, the  first post of 2011, to a close, I would like to thank all of you Fabler fans and comic creators who have brought something to the site over the past year. I would also like to thank you for reading our humble little blog, when the internet is such a big, wide, interesting place.

On that note, for your handy convenience and ready perusal, here’s a list of all the interesting individuals we featured on the blog over the past year:

Gibson Twist (Pictures of You, Our Time in Eden)

Kelly Tindall (Archie Snow)

Ben Steeves (Zom-Ben, Our Time in Eden)

Aaron Leighton (Illustrator, member of Trio Magnus)

Colleen MacIsaac (Minicomic creator and multimedia artist)

Marta Chudolinska (Back + Forth: A Novel in 90 Linocuts)

Eric Vedder (Aardehn, Darkstalkers: The Night Warriors)

Adam Bourret (I’m Crazy)

Ryan Sohmer (Least I Could Do, Looking for Group)

James Turner (Warlord of Io)

Nick Thornborrow (The Anthology Project)

Ethan Rilly (Pope Hats)

Jenny Romanchuk (The Zombie Hunters)

Evan Munday (Quarter-Life Crisis)

Damian Willcox (dorkboy Comics)

Jason Loo and Arthur Dela Cruz (The 3 Second Rule)

Robin Thompson (Vancouver Comic Art teacher, and artist on Champions of Hell)

Jonathon Dalton (A Mad Tea-Party, Lords of Death and Life)

Angela Melick (Wasted Talent)

Cloudscape Comics (Vancouver-based comic collective)

Jim Zubkavich (Skullkickers)

Eric Kim (The Complete Plays of William Shakespeare)

Mike Jasper and Niki Smith (In Maps & Legends)

Noel Tuazon (The Broadcast)

Scott Ferguson (Scout Crossing, Nerf This)

Ty Templeton (Northern Guard)

Danielle Keller (GHOST!, Acid Monday)

Sarah Leavitt (Tangles: A Story About Alzheimer’s, Mother and Me)

Derek McCulloch (Stagger Lee, Pug)

Matthew Dunn (Lonely Monsters)

Scott Chantler (Two Generals)

Rhian Engel (My Life as a Grum)

Jason Bradshaw (Boredom Pays, the Worst in Everything)

Salgood Sam (Dream Life, The Rise and Fall of it All)

-Post Written by Kevin de Vlaming

Our Time in Eden, which is written entirely by Twist, is an adult-oriented tale of teenage innocence and naivety lost.

This week, we bring you the other side of the proverbial Our Time in Eden Coin; an interview with Ben Steeves, the artist collaborating with Gibson Twist on the  project.

But the fun doesn’t stop there! Steeves also writes and illustrates his own webcomic about a zombie-by-night superhero named (what else) Zom-Ben.

Zom-Ben, which also features colours by Manny Peters, tells the story of everyman comic illustrator Ben Benson.

Benson is given a mystical bracelet by the Egyptian God Anubis with the ability to transform him into a (relatively) invulnerable zombie. From there, he does what any other comic fan who came into possession of a superhuman ability would do: he suits up, and sets out to fight crime.

Zom-Ben is first a humorous webcomic, second a superhero story with a heavy emphasis on the relationships that hero has in his ‘civilian’ life, and (contrary to what you might assume) the fact that the main character is a zombie slides in as a distant third aspect to the comic.

Zom-Ben has been called corpsetacular, cadaverlicious, and pretty rad. (The last by me.)

But seriously. Both Zom-Ben and Our Time in Eden showcase Steeves’ talent as an extremely capable contemporary comic artist, each presenting a totally different side to his work.

Slam that down arrow key to see the interview with Ben below:

KD: Can you provide a brief insight into what got you into comics and doing comic art yourself?

BS: I always remember having a handful of comics around, from a really young age, probably belonging to my older brother. What got me into comics, though was when I started spending my weekly allowance on the early 90’s Marvel Universe and DC Universe trading cards.

Not only did seeing the cool  characters on the cards inspire me to find out more about them by buying the associated comics, but I’d also create my own characters, drawing them on lined paper, and writing the vital stats on the back. I think my first attempt at doing a full comic was in grade 5, and then my first completed one came in grade 7. I’ve been hooked ever since.

KD: This interview will mostly focus on Zom-Ben and Our Time in Eden, but for those not familiar with your other work, what else have you done pertaining to comics/webcomics?

BS: My first webcomic was called Apt. 24 and detailed the “true” events of living in an apartment with co-writer/artist Colin Turnbull. Sometime after that I started doing a photo-comic starring my action figure collection (because I’m an enormous dork) with Jordan Roherty, which we called Pulp Stiktion. I later started posting Colin and I’s zombie epic Evil Dawn that we’d started in late 1999 and eventually finished in 2005.

I’ve also done guest comics on Gibson Twist’s Pictures of You.

KD: When Gibson approached you for Our Time in Eden, what was it about the comic that made you decide it was something you would like to do?

BS: Gibson originally pitched both Eden and Pictures of You, (this was some time before he started it in its current incarnation on Smack Jeeves) and both were intriguing to me, because they were so different from anything I’d worked on up to that point.

I’d covered super-hero comics, an action/horror comic, and irreverent comedy strips, but Pictures and Eden were both very real, dramatic stories. I’d opted for Eden, citing that Pictures of You seemed very close to Gibson’s personal experiences, etc. and he’d probably pull it off better himself. “His baby”, I called it. Since then I’d always seen Eden as potentially a very important comic: very mature, very dramatic.

Though it features children for two full chapters, there’s nothing childish in its content. Our Time in Eden is hard proof that comics aren’t just for kids.

KD: If you were to pick a single aspect of the story that resonates most with you, what would you say that aspect would be?

BS: The overall theme of Our Time in Eden is the loss of innocence and the difference between what you think your future holds as a child and how things actually turn out.

The fact that I’m currently working at a store and doing comics for free on the Internet, as opposed to being a well-respected member of the professional comics industry at this point, should tell you how much this theme resonates with me.

KD: How do you approach illustrating Our Time in Eden differently from Zom-Ben?

BS: The style I use for both comics is essentially the same cartoony style. I always liked the juxtaposition of my cartoon style with Gibson’s dark writing. But with Eden, I try to keep it more believable by keeping the facial expressions and body language more subtle than the sometimes goofy and over-the-top ones in Zom-Ben.

Definitely I need to be in a different headspace to do each comic. I tend to listen to more moody, less up-beat music when working on Eden, whereas I usually skip to the more energetic stuff on my perpetual iTunes shuffle to do Zom-Ben. Although I feel I do my best work on Eden, it probably says something about my personality that I find it much harder to work on Eden with its more heavy/dark subject matter.

KD: Switching focus more to Zom-Ben now, what is it about zombies that captures your imagination?

BS: Zombies are the only movie monsters that actually get a bit of a scare out of me. With vampire or werewolf stories, they come in, cause some trouble, and by the end the problem is usually solved.

With zombies, though, the stories are usually far more apocalyptic and that’s why I love them: they’re so darn hard to beat! On top of that, zombies are US. They’re our families and friends, the kid who mows your lawn, the friendly guy who helps you take in your groceries.

No one’s gonna fight Grandma off until she’s already close enough to take a bite out them!

KD: With Zom-Ben, any traditional Zombie mythos in the comic seems to take backseat to both Ben’s escapades into super heroics and the relationship-building in his un-undead life. Was that a conscious decision you made about the comic early on, or is that just the way it evolved?

BS: This is absolutely intentional. While I wouldn’t say Zom-Ben is a traditional zombie he does have that infamous hunger.

It was briefly mentioned in one of the early chapters and in the out-of-continuity 24 Hour Comic I did, but it’s more something that will creep up throughout the story than something that’s right there in your face.

KD: Why a superhero zombie anyway? And moreover, to what degree is the character (zombie attributes aside) based on yourself?

BS: There are a lot of zombie stories out there and a lot of different takes on them and “zombie super-hero” just seems like something that’s untouched in general and in comics specifically.

Zom-Ben was actually created out of boredom. I wondered what I would be like as a super-hero what my powers would be, so I blended three things I love: super-heroes, zombies, and Egyptian mythology, and voila!

The power to turn his drawings into reality came from me finding a really strange pencil in real life that looked to be entirely made of metal. I thought “Wouldn’t it be cool if it were mystical and could make my drawings come to life?”

The character is based on a past version of me. He’s very clueless and at the time of his creation I had been making a lot of stupid decisions that put me in some less than desirable situations. Though I can still be fairly absent minded Ben Benson represents that younger, “dumber” me.

KD: You had a recent poll on the Zom-Ben forums to determine who would be the next villain. You’ve also stated that you’d draw anyone who made a donation into the comic, and overall, it seems like having a dialogue with your fans is something that’s important to you.  How important do you feel it is to maintain that interactive element with the people reading your work on a regular basis?

BS: I love fan feedback and, moreover, I love being able to respond to their questions and comments on the spot in the way that only webcomicking allows. You might say I’m addicted to it. Having a dialogue with the people that appreciate my work is important to me because I can show them that I appreciate them as well.

Regrettably, putting donors into the comic became more of a chore than I’d thought, coming up with reasons for other people to be around when a good portion of a chapter is just two people talking alone in a room, etc. So, while it was fun to let the fans see themselves as I’d draw them and in a comic they like, I had to stop doing it.

There will be future polls for new villains, though. I started the Zom-Ben comic for me, to create the stories I wanted to see, but it’s the fans that keep me doing it. Without them I’d have given up on this comic a long time ago.

KD: Last, is there anything else you’re currently working on that you can share some info on?

BS: Aside from attempting to get paying work in the comics industry, there is an Evil Dawn prequel I’ve been developing with Gibson Twist that, as of now, is still on the back burner.

You can check out Zom-Ben for yourself at Zombenstrikes.com, and Our Time in Eden can be found here. For yet more Zom-Ben goodness, you can also head over to the official Twitter feed.

-Interview by Kevin de Vlaming

Twist (not his real name, though it is the handle through which all of his creative content is released) is a New Brunswicker who has been active in webcomics for several years. In February of this year, he will be celebrating the three year anniversary of his primary ongoing series, Pictures of You.

Twist describes Pictures of You, of which he is writer and artist, as “a story about the best friends you’ll ever lose”. I would add to that description that it’s a compelling trip down someone else’s memory lane, packed with believable, well-developed characters and just the right amount of nostalgia.

I  say ‘just the right amount’ in that the narrative never becomes burdened in nostalgic sentiment – it’s a spice that Gibson uses to flavor his dish, rather than a base that drowns out the rest of the recipe. Quaint metaphor for the win, no?

Though Gibson has only been active in webcomics for a few years, he used to be involved with paper zine publishing back around the early-to-mid nineties.

“I did that for several years actually,” he says, “and kind of drifted away from it and got into other kinds of writing. I guess I was away for probably about ten years before I got the impetus to do Pictures of You.”

Gibson says that when he started the project, he only intended for it to be around six to seven hundred pages.

“But then as I started rewriting and developing the story and characters further”, he explains, “it more than doubled its length. I envision it now to be more like fifteen to eighteen hundred pages when it’s done.”

Despite his epic ambitions for the page count, Pictures of You is a highly accessible read. Not only is it very possible to jump in at the beginning of any one of the chapters written to date, (though you obviously won’t get as much out of it as otherwise) but Twist has successfully created something that a wide variety of readers could find compelling.

“You know, I always envisioned the story as something that would appeal to people around my age,” says Twist, “that is, mid-thirties, maybe even late twenties. What I’ve been finding more and more however,  is that it also holds a lot of appeal for a younger demographic, like teenagers to early twentysomethings.”

To really get an idea of the unique sort of charm that Twist magically weaves through believable dialogue and sincere character interaction, you’d have to stop by the webcomic’s host site and look through a few panels yourself. Actually, I strongly recommend doing this now. Go ahead, I’ll wait.

….

See?  See what I mean?

Depending on where you may have randomly decided to begin reading, you may have noticed that some of the art from Pictures of You is in color, while in other instances it’s entirely black and white.

Gibson started the comic entirely in monochrome, only deciding to add color to new panels as recently as last year. Since then, he has decided to go back and color the original books, one chapter at a time.

“It’s actually been quite interesting to go back and look at not only what I was doing back then, but also how the style changed throughout,” Gibson says of his experience coloring the older pages, “Like seeing the difference, for instance, between what I was doing with black and white at the beginning of Book One, and what I was doing with it at the end of Book Two. It’s also been interesting to see how well the color applied to what was always intended originally to be black and white.”

Twist, whose other activities included (until recently) managing a record store in the town he lives in just outside of Fredericton, is also currently involved with a comic adaptation of a story he had written previously, titled “Our Time in Eden“.

Unlike Pictures of You, Gibson is not behind the art for Our Time in Eden. Instead he recruited Ben Steeves to illustrate the comparatively much heavier, mature-themed comic about loss of childhood innocence.

“It was something I never thought I could turn into a comic,” says Gibson, “Just from the nature of the way I’d written the novel, I’d never really figured it would translate properly into sequential art. I honestly couldn’t say what changed. I was just thinking one day about the story and different graphic aspects of it and it just came to me how I could trim a little here, and add a little there to make it work in a graphic setting.”

As it turns out, Gibson was right – Our Time in Eden works beautifully as a comic. Steeves does a fantastic job of capturing the mood and emotions of the two central characters – the disenfranchised, apathetic protagonist Tim and his long-estranged childhood companion, Ellis.

“With Ben, we have this sort of unusual synergy where we each understand what the other one is thinking and are able to build on the other one’s strengths,” says Gibson of the partnership, “It’s just one of those magical, cohesive kind of relationships that you don’t really find very often, and he’s been a dream to work with.”

The synergy he mentions really does come through in the panels of Our Time in Eden. As a disclaimer to those interested in perusing the comic, be prepared for a story that does not shy away from heightened emotion – reading Our Time in Eden can be a visceral experience, especially in its ability to resonate with those who have ever lost/screwed up a relationship that was important to them. And really, show me the picture perfect android of a person who hasn’t.

Between creating new strips for Pictures of You, coloring the older chapters of that same title, and working with Ben Steeves on Our Time in Eden, Gibson (by necessity) commits a large portion of time to his ventures in online comics.

“I’m motivated by the people who come and visit the sites when they really have no reason to,” says Twist, “as well as the people who have shown me a lot of support and love – a lot of my readers are very loyal. I just feel like I need to live up to their trust in me that I give them a good story without taking too long to tell it. That’s the kind of thing you don’t want to let your readers down with.”

As for future plans, Gibson is currently working on several other comics with other artists that he hopes to see come together in the near future. He’s also working on a releasing a physical, grayscale version of the first two books from Our Time in Eden as well as securing a publisher for the eventual release of Our Time in Eden as a graphic novel.

For more from Gibson Twist, you can find links to his work on his profile over at Smack Jeeves.

-Written by Kevin de Vlaming