Giant Robot Store and GR2 News

I’ll be posting our Exclusives and getting them up on social media as well. Hope you don’t mind these transmissions. This collaboration is a fun one. Imagine keeping in touch with a person you’ve never met in person. That’s how our relationship with Mafia Factory in Thailand has developed. My contact there did send his friend and family to come visit me at GR2. I felt awful since they were on vacation from Thailand but the five member family seemed to enjoy the bus ride. Is a figure, a figure when it’s put together? Are the sum of it’s parts equal to a whole? It’s a philosophical question, but in this case, it’s the parts displayed nicely like a model kit. Put it together or just wear it. It’s a concept that’s deep and thoughtful and puts figures in yet another situation. The big kicker is that it fits LEGO brand items. It’s the size of a LEGO mini figure and you can interchange parts and stick it to bricks. We’ll have 200 pieces.  
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The final panel I attended at this year’s Comic-Con was a conversation between Gene Yang and Paul Pope about their upcoming all-ages comics. It’s a genre that I hadn’t really considered beforehand, probably because I grew up reading comics without ever thinking that they were written for kids. From the heaviness of The Silver Surfer to the gore of pre-code E.C. Comics, it was all great. But as mainstream comics have amped up the sex, violence, and controversy to new heights in an effort to keep readers interested, offerings for kids are dumbed down, cleaned up, or just plain stupid. Those sweeping generalizations are mine and not the panelists’, but perhaps it’s time to make quality comics more available to kids–like having all-ages punk shows.

Gene talked about his Boxers and Saints books, which tell story of the Boxer Rebellion through the Chinese patriots’ and Chinese Christians’ points of views, respectively. Especially interesting, considering that Gene is a student of either point of view. His books are already out and available now.

And then there’s Paul Pope’s new book. I grabbed reader’s edition and it blew my mind with its Jack Kirby meets The Twilight Zone vibe. Main characters perish, the populace is afraid, and there are awesome monsters. The hero just happens to be a kid, and he’s kind of freaked out. This ain’t Scooby-Doo.

The first installment of Battling Boy drops next month, and I want everyone to know in advance that it rules. So here’s a quick Q&A with the creator of THB, Heavy Liquid, and Batman: Year 100 to get you excited and maybe even share with your friends.

MW: Tell me why you’re making an all-ages comic. That’s something many artists don’t do unless they have kids and are stuck reading lousy kids’ comics!
PP: I think there aren’t enough good comics which are directly aimed at a kid audience. I love the challenge of making a bad-ass comic which is kid-friendly and does all the cool shit we remember from Heavy Metal magazine and old Jack Kirby comics, and delivers in such a way as to be accessible to kids. Nothing too violent or too harsh, but still not too sugar-coated and dumbed down. Something genuine. I don’t have kids, but I was a kid, you know?

MW: Do you recall what you read as a kid?
PP: I read everything. I was a voracious reader. Donald Duck through Heavy Metal through Dune, I read it all.

MW: How do you see all-ages comics these days in comparison?
PP: I dunno, I don’t look at all-ages comics, outside of Adventure Time. But if kid’s comics means Scooby-Doo and Bugs Bunny, that stuff is like 40 or 50 years old. Those are classics, for sure. But kids need new comics.

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The final panel I attended at this year’s Comic-Con was a conversation between Gene Yang and Paul Pope about their upcoming all-ages comics. It’s a genre that I hadn’t really considered beforehand, probably because I grew up reading comics without ever thinking that they were written for kids. From the heaviness of The Silver Surfer to the gore of pre-code E.C. Comics, it was all great. But as mainstream comics have amped up the sex, violence, and controversy to new heights in an effort to keep readers interested, offerings for kids are dumbed down, cleaned up, or just plain stupid. Those sweeping generalizations are mine and not the panelists’, but perhaps it’s time to make quality comics more available to kids–like having all-ages punk shows.

Gene talked about his Boxers and Saints books, which tell story of the Boxer Rebellion through the Chinese patriots’ and Chinese Christians’ points of views, respectively. Especially interesting, considering that Gene is a student of either point of view. His books are already out and available now.

And then there’s Paul Pope’s new book. I grabbed reader’s edition and it blew my mind with its Jack Kirby meets The Twilight Zone vibe. Main characters perish, the populace is afraid, and there are awesome monsters. The hero just happens to be a kid, and he’s kind of freaked out. This ain’t Scooby-Doo.

The first installment of Battling Boy drops next month, and I want everyone to know in advance that it rules. So here’s a quick Q&A with the creator of THB, Heavy Liquid, and Batman: Year 100 to get you excited and maybe even share with your friends.

MW: Tell me why you’re making an all-ages comic. That’s something many artists don’t do unless they have kids and are stuck reading lousy kids’ comics!
PP: I think there aren’t enough good comics which are directly aimed at a kid audience. I love the challenge of making a bad-ass comic which is kid-friendly and does all the cool shit we remember from Heavy Metal magazine and old Jack Kirby comics, and delivers in such a way as to be accessible to kids. Nothing too violent or too harsh, but still not too sugar-coated and dumbed down. Something genuine. I don’t have kids, but I was a kid, you know?

MW: Do you recall what you read as a kid?
PP: I read everything. I was a voracious reader. Donald Duck through Heavy Metal through Dune, I read it all.

MW: How do you see all-ages comics these days in comparison?
PP: I dunno, I don’t look at all-ages comics, outside of Adventure Time. But if kid’s comics means Scooby-Doo and Bugs Bunny, that stuff is like 40 or 50 years old. Those are classics, for sure. But kids need new comics.

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I don’t usually get too excited about the extracurricular events at Comic-Con but when I discovered that Metallica was going to attend a panel about their new 3-D IMAX movie and then play a secret show, I had to make it happen. Through the movie publicists, I was able to catch the Monsters of Rock play for the first time since the And Justice For All… tour. I was stoked to get a killer seat in the second row of the second level with studio folks and lucky Con attendees. When I saw them at the Long Beach Arena way back when, I was kind of freaked out by the crowd of wild heshers that tore cushions off the seats and threw them in the air. The band went on KNAC to persuade fans to behave better during the second show. Probably for the better, Spreckels didn’t have the same sense of danger–although the set was pretty much from that era. They started with a double-shot of “Creeping Death” and “For Whom The Bell Tolls” and ended with a heavy-duty encore of “Last Caress” and “Seek and Destroy.” And if The Misfits cover wasn’t enough for Comic-Con fans, Kirk turned the Star Wars theme into a sweet solo leading into “Nothing Else Mattered” and “Enter Sandman.” Metallica has and will always rule, and it was very rad of them to play this free set for their fans (and a handful of lucky, undeserving poseurs like me). I was psyched to visit one of my favorite venues the next night. Sadly, I missed the opener and headliner due to food and sleep reasons but mostly wanted to see the middle bands anyway. First there was the one-woman wrecking crew Colleen Green. I dig the cool, effortless style and catchiness of her supremely minimal yet hook-ridden tunes to the max. And then there was Milk Music, a trio that plays super catchy and fuzzed-out melodies, full of primo noise an unconcerned with image. This time around, they seemed to play mostly older stuff of their essential first EP, which was once impossible to find but has been repressed. Fans of Dinosaur Jr. would dig, for sure. I thought we were ending the best Comic-Con even by having dinner with my friends Alyasha and Kien at the Convoy Tofu House. Then Aly mentioned that he knew the DJ and could get us on the list for El Vez at Bark Pink’s sixth anniversary party. I was beat but it was impossible not to be entertained by The Schitzophonics’ high-energy set of garage rock ‘n’ roll. Taking the melody of The Fleshtones, sweat of JSBX, and out-0f-control energy from an electric chair, I had to be careful not to get clocked by the guitar neck as the singer spasmed around the low stage. Amazing. Somehow, The Schizophonics had more than enough energy to be The Mexican Elvis’s backing band. I’ve seen the El Vez for President show and the Merry Mex-Mas show in the...
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I don’t usually get too excited about the extracurricular events at Comic-Con but when I discovered that Metallica was going to attend a panel about their new 3-D IMAX movie and then play a secret show, I had to make it happen. Through the movie publicists, I was able to catch the Monsters of Rock play for the first time since the And Justice For All… tour. I was stoked to get a killer seat in the second row of the second level with studio folks and lucky Con attendees. When I saw them at the Long Beach Arena way back when, I was kind of freaked out by the crowd of wild heshers that tore cushions off the seats and threw them in the air. The band went on KNAC to persuade fans to behave better during the second show. Probably for the better, Spreckels didn’t have the same sense of danger–although the set was pretty much from that era. They started with a double-shot of “Creeping Death” and “For Whom The Bell Tolls” and ended with a heavy-duty encore of “Last Caress” and “Seek and Destroy.” And if The Misfits cover wasn’t enough for Comic-Con fans, Kirk turned the Star Wars theme into a sweet solo leading into “Nothing Else Mattered” and “Enter Sandman.” Metallica has and will always rule, and it was very rad of them to play this free set for their fans (and a handful of lucky, undeserving poseurs like me). I was psyched to visit one of my favorite venues the next night. Sadly, I missed the opener and headliner due to food and sleep reasons but mostly wanted to see the middle bands anyway. First there was the one-woman wrecking crew Colleen Green. I dig the cool, effortless style and catchiness of her supremely minimal yet hook-ridden tunes to the max. And then there was Milk Music, a trio that plays super catchy and fuzzed-out melodies, full of primo noise an unconcerned with image. This time around, they seemed to play mostly older stuff of their essential first EP, which was once impossible to find but has been repressed. Fans of Dinosaur Jr. would dig, for sure. I thought we were ending the best Comic-Con even by having dinner with my friends Alyasha and Kien at the Convoy Tofu House. Then Aly mentioned that he knew the DJ and could get us on the list for El Vez at Bark Pink’s sixth anniversary party. I was beat but it was impossible not to be entertained by The Schitzophonics’ high-energy set of garage rock ‘n’ roll. Taking the melody of The Fleshtones, sweat of JSBX, and out-0f-control energy from an electric chair, I had to be careful not to get clocked by the guitar neck as the singer spasmed around the low stage. Amazing. Somehow, The Schizophonics had more than enough energy to be The Mexican Elvis’s backing band. I’ve seen the El Vez for President show and the Merry Mex-Mas show in the...
Continue reading