![]() They had Outland collections at WaldenBooks at the mall and they were racked next to this thing that looked the same and had some of the same characters, so I went back and became obsessed with Bloom County. And I later went back and became a really big Bloom County fan. My favorite comic strip as a kid was Outland. Normally, I like to keep it mysterious, but now we can do the geological excavation. I’m trying to think of comics from that era? Was that like the Far Side era? The Fox Trot era? Those are the ones that I think of from that time. So my grandfather would send me the Richmond Times-Dispatch comic strips that I couldn’t get where I was living in North Carolina or New Jersey and that was the earliest memory of comics for me. And whenever my grandfather would come visit, or sometimes he would just mail them to me, because here’s the thing, and as a little kid this blew my mind, they get different comics in the newspaper in different places.ĭifferent newspapers had different syndicated comic strips. To this day, I’m like the only member of my extended family that doesn’t live in the Richmond area, but we would bounce around. What were your early or formative experiences engaging with comics? ![]() I went to NYU and I lived there for about eleven years. I left when I was eighteen to go to school in New York. That's where my folks are from that's where their folks are from and going way further back than I care to go on. We bounced around some, but that was home. Yeah, I was born and raised in Richmond, Virginia. Yeah, man, all the plates are spinning.Ĭan you talk a little bit about your background? Where you grew up, where you went to school, and all that kind of stuff? I’ve got the Beef Bros Kickstarter, which is probably running right now as people are reading this, I’ve got really exciting stuff planned for 2021 that we’re a little bit out from announcing. We’re doing this in advance, so who knows what will be going on when this goes live. ![]() I feel really fortunate and lucky and grateful and yeah, I don’t know. With everything going on, I feel guilty saying it, but I’m doing really well. I’m trying to get better about not qualifying it, but I still feel like I need to. Ian Thomas: How are you doing? How has 2020 been for you?Īubrey Sitterson: I’m excellent, man. He spoke to Ian Thomas by telephone and email in October of 2020. In conversation, he is fervent in expressing his gratitude for the opportunity to tell stories in this way. Nonetheless, Sitterson is relentlessly optimistic about the potential his stories have to illuminate and subvert longstanding conventions. Given his worldview, these emerge as radically challenging to the status quo and, at times, the readership. Sitterson’s work is informed by well-honed obsessions, consistently exploring themes of masculinity, physicality, physical struggle, and gender roles through the lens of mainstream genre storytelling. Sitterson is launching a Kickstarter to produce his latest project, Beef Bros, in collaboration with artist Tyrell Cannon (ERIS, IDKFA ). In 2019, with artist Fico Ossio, he published No One Left to Fight, a Western take on fight manga, for Dark Horse. In 2018, Sitterson, with artist Chris Moreno, published The Comic Book Story of Professional Wrestling, an ambitious summation of the sport for Ten Speed Press. Throughout this period, he also pursued passion projects, such as his fantasy fiction podcast Skald, which ran from 2015 to 2018 and was subsequently collected into prose editions. This series segued into another, Scarlett’s Strike Force, which was abruptly (and controversially) cancelled. Joe, followed by a much-lauded run on G.I. In recent years, Sitterson produced work on licensed titles for IDW, such as Street Fighter x G.I. In 2012, he collaborated with artist Chris Moreno on the graphic novel Worth, for Roddenberry Entertainment and Arcana Studios. In addition, he worked on adaptation work for Viz Media and Marvel. Su’s Tech Jacket, co-written with Kirkman, which ran as a backup feature in Invincible. During this period, Sitterson began landing gigs as a comics writer, beginning with shorts and and back-ups for DC and Oni, as well as work on Robert Kirkman and E.J. This included copywriting responsibilities for both Marvel and DC, as well as editing work on titles like Kick-Ass. He began his freelance career in kind, beginning in in 2010. Following his departure from Marvel in 2008, he took on content writing responsibilities at WWE.com. ![]() Upon graduating from NYU in 2005, he worked at Marvel as an Editorial Assistant, then as an Assistant Editor. Features “Let Them Do The Heavy Lifting”: An Interview With Aubrey SittersonĪubrey Sitterson’s career in comics began as an intern at Marvel in the Mid-2000s.
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