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Wednesday, September 7th, 2016
10:08 pm - Dean Haspiel's Keynote speech at the 2016 Harvey Awards - video

Master of Ceremonies, Vivek Tiwary. Recorded by Jeff Newelt.

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11:21 am - The Red Hook - chapter 23
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It gets like a polka dotted lava lamp on fire in The Red Hook chapter 23 (of 26)! http://www.webtoons.com/en/super-hero/the-red-hook/chapter-23/viewer?title_no=643&episode_no=24

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Read The Red Hook from the start for free! http://www.webtoons.com/en/super-hero/the-red-hook/list?title_no=643

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Tuesday, September 6th, 2016
4:07 pm - Comics Beat: Hang Dai Studios' end of days in Gowanus, Brooklyn
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(Heidi MacDonald, Dean Haspiel & Christa Cassano at Baltimore Comicon. Photo courtesy Chris Miskiewicz)

Heidi MacDonald interviewed me and Hang Dai Studios mate, Christa Cassano, at Baltimore Comicon for the Comics Beat about losing our studio space in Gowanus, Brooklyn. Heidi also talks about the other comix studios being evicted.


Heidi also spoke about my Keynote speech at the Harvey Awards and presented the full text: http://www.comicsbeat.com/dean-haspiel-gave-a-speech-at-the-harveys-what-happened-next-had-people-in-tears/

Thanks, Heidi!

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1:29 pm - 40 Days of Supergirl
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Brian Salvatore asked me to do a Supergirl sketch to celebrate the hero at Multiversity Comics. I did a quick sketch on the back of a piece of cardboard which will be up for auction soon.

Check out the rest of the story here: http://www.multiversitycomics.com/art-feature/dean-haspiel-40dos/

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Monday, September 5th, 2016
10:57 am - Trouble with Comics reviews Dean Haspiel's BEEF WITH TOMATO
Thanks, Matt Lacroix, for writing such a great review for my graphic novel, BEEF WITH TOMATO at Trouble With Comics.


"Much of the book finds Haspiel at the center of acts of sexual exhibitionism, blunt force trauma, and/or drunken Greek mobsters as a matter of course, not so much surprising as they are disorienting. Beef With Tomato is a look into the non-trust-fund-fueled life of an urban artist living somewhere between the hipster elite and the lunatic fringe. Less a cohesive narrative (albeit with several common threads) than a series of vignettes, the book delivers a fully-realized experience that resonates past the confines of the page."

"To put it charitably, Haspiel’s life (as depicted) is pretty weird, and I don’t use that as a pejorative. The situations in which Haspiel finds himself are almost too weird to believe, and yet are sadly indicative of the undeniable madness found in the modern world. Unlike many such biographical works, Beef With Tomato is suffused with an undercurrent of chaos that defies convention."

"The art is crisp and clean, detailed yet unobtrusive, which allows Haspiel’s narrative to shine. In his more unfettered moments, Haspiel’s New York is an eclectic mix of constant, jarring, disparate images."

"When Haspiel is profoundly affected by something, he is an able philosopher with a fresh take on otherwise mundane (or one-note) occurrences. These moments largely occur in several short essays toward the latter part of the book, and the format shift helps to more fully flesh out Haspiel’s philosophy."

Read the entire review here: http://troublewithcomics.com/post/149972232031/dean-haspiels-beef-with-tomato-reviewed-by-matt

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10:41 am - Harvey Awards 2016 keynote speech by Dean Haspiel
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(Shelly Nathan, Dean Haspiel, & Marc Nathan at the Harvey Awards 2016. Photo by Chris Miskiewicz)

Here is the Keynote speech I wrote and delivered during the Harvey Awards at Baltimore Comicon 2016...

When Marc Nathan called me on the phone a few weeks ago, he asked if I was sitting down. I was. So, I stood up. Marc then asked me if I would like to be the keynote speaker at the Harvey Awards. I sat right back down. I told him I appreciated his offer and was honored that he asked me but I had to decline. It was too nerve wracking to even consider such an honor. He asked me to think about it for a day.

See, Marc was aware of a recent rant I made about my current status as a freelance artist trying to make ends meet in my native NYC. A rising epidemic that most of us can relate to as mutual comix makers and movers and shakers struggling to keep the lights on, no matter where we live. I think Marc wanted me to talk a little bit about that.

I'm currently wrapping up the first season of a free weekly webcomic I produce called The Red Hook for LINE Webtoons.com. It's a superhero story that's partially about a sentient Brooklyn whose heart gets broken by an indifferent yet entitled society. Brooklyn decides to literally and physically secede from New York to go back to days of old where society bartered their skills and talents for food and services and communities had each others back. A New Brooklyn is born where a sketch can get you a drink and a painting can buy you a house.

Christopher Calloway of Word of the Nerd interviewed me about my project and asked: "Brooklyn having a broken heart and becoming an island unto itself is an analogy for it undergoing a cultural change. Artists are losing their studios as the neighborhood becomes more “gentrified”. How are you and your fellow artists living in the area coping with the change?"

Here's a version of my answer:

Our family is breaking up. As independent freelancers, there is nothing we can do. What was once $25 per square foot a few years ago has become $45 per square foot – if we’re lucky. Most of us are moving back into our one-bedroom apartments. Communities and studios are dissolving. Anxieties are high and spirits are low. There’s chatter of some freelancers making an exodus to the mountains or to affordable states but nothing organized.
I’m emotionally tethered by the fact that I’m a native New Yorker and it's the only place I’ve ever lived in. When some people think about NYC they think of the Empire State Building, Times Square, and Broadway theater. When I think about NYC, I think about the outliers who fuel the heart and energize the soul of NYC. But, as evidenced by abnormal rent hikes, land developers don’t care about grass-roots culture. NYC is no longer interested in underwriting the avant-garde with affordable spaces.

I was having lunch with my friend and sometimes collaborator/writer/television producer, Jonathan Ames, and he agreed that art in NYC was compromised more than ever before. The wild stuff he performed and curated years ago at now defunct basements and second floor venues would be tough to engender today because who goes anywhere anymore when everyone is glued to their smart phone and tablet? It’s hard to compete with an audience that can’t extricate themselves from the internet for a couple of hours to experience something live and direct with carbon dioxide. Our surveillance society has created attention-deficit disorder zombies. The “scene” got taken hostage by the screen.

I grew up during a time when artists could live most anywhere in the city and I counted on the fact that there were going to be places for me to lay down my head so I, too, could take art seriously. My mother was deputy director of The NY State Council of the Arts for 30-years. Through her, I got to witness diverse artists, performers, and organizers of all measures do what they did and get by. It was that kind of leeway that encouraged me to sacrifice a normal life for the risk of a freelance one so as to create cool and exciting new ideas with like-minded artists, necessary to the growth and strength of our culture. What used to be less-than-desirable neighborhoods where artists could find a cheap spot to experiment and squeak by, hardly exists anymore. We made scary places cool enough to price us out.

For the first time in my life I’m thinking about leaving NYC but I'm having a mental block in taking that leap of faith. Maybe I should look into the food truck model? I could become a roving cartoonist on Route 66, performing my stories and selling my comix though a concession window. The price of gas might be cheaper than an old, windowless warehouse room stacked between a garbage dump and daily drug busts.

My rant got some attention from fellow artists across the nation and across our industry. But, you can easily replace their plight with most cartoonists who have dedicated twenty-to-fifty years or more of their life and service to help evolve our industry and perpetuate franchise characters, only to lose work because they didn't trend anymore in a business that doesn't provide a proper pension. I get that there is no guarantee in comix but, in the eternal words of Chris Oarr, “Give a crippled crab a crutch.”

Come September 30th, at the end of this month, after many years sitting in the same room inches from my peers, creating comix and art under the banner of Hang Dai Studios, we will say our goodbyes. Some of us are going back home to start new lives while others are sparking new studios...smaller studios in more expensive spaces, far away. I'm giving myself a year to see how it all shakes out.

But, why?

I'm 49-years old and I still feel the same tingle I felt when I was a skinny little boy every week new comics come out. I remember getting a 50-cent weekly allowance from my parents and waiting at the newsstand on my corner for the clerk to rack the new comic books so I could be the first kid on my block to see what came out. To ogle the new covers and spy the new stories. Very quickly, 50-cents wasn't enough money to buy what I wanted. Especially when they raised the price from 20-cents to 25-cents! Soon, my parents stopped giving me an allowance when they saw what I spent it on and just bought me the comics I wanted until I discovered a holy grail.

West Side Comics, a local comic book store! Suddenly, I could buy back issues and collections and that meant I had to get a job. And, at age 15, I got a job at my local candy and cigar store that paid me two-dollars an hour so I could buy more comics. Old comics! I met my first real life cartoonist when a regular customer, a short, unassuming Japanese-American man came in with a portfolio and I asked him what was in it. He pulled out original art from Prince Valiant and Dondi that he was lettering. His name was Ben Oda.

Suddenly, comics became humanized and were much more than The Fantastic Four, Spider-man, Batman, and something called Star Wars before the movie came out. Real people made these things. I started to recognize names and follow my favorite creators. Later on, I discovered Chester Brown's Yummy Fur and Harvey Pekar's American Splendor and learned that comic books could be about anything. And, with that, I decided I was going to be a comic book creator, no matter what.

But, how?

Instead of paying attention to science and math, I drew crazy clowns and giant squids attacking battleships in the corners of my junior high school books. I came up with a Shakespeare super-team led by Mercutio, Tybalt, and Iago. By putting my stuff out there in class, I discovered other comic book fans and we soon became friends. We hung out after school and formed a comic book company where we created new characters, and sometimes collaborated, and would xerox and staple our comics to make them feel real.

A couple of years later, I befriended a kid in high school named Larry O'Neil who turned out to be Denny O'Neil's son. Denny O'Neil, the legendary comic book writer and editor of Batman, Green Lantern/Green Arrow, Iron Man, Daredevil, Moon Knight and so much more. Denny got wind that Howard Chaykin, the guy who drew that Star Wars comic, needed a new assistant for his magnum opus, American Flagg! Another artist down the hall named Bill Sienkiewicz wanted someone to help him out on New Mutants, and Elektra: Assassin. When Walter Simonson got a look at what we could do, he put us to work on Thor. That was 1985. I was 17 going on 18. That was 31 years ago.

I never went to a comic book convention until the mid-1990s when my high school pal & cartoonist, Josh Neufeld convinced me to fly to Chicago and promote our first, two-man comic book anthology titled Keyhole. That's where I met Jessica Abel, Harlan Ellison, and John Byrne. What a trifecta of diverse talents. Needless to say, I got bitten by the comicon bug even though I never got to meet my hero, Jack Kirby, to shake his hand and say, “Thank you.” Something I regret to this day.

And, even if my portfolio wasn't ready for prime time, my peers and, more importantly, comics didn't let me know that when I got wind of an expo in Bethesda, MD called SPX, The Small Press Expo. I found my tribe at SPX. Inclusive and innovative yet bucking the system while reinventing it. That's where I befriended the likes of Jeff Smith, Diana Schutz, Bob Schreck, James Kochalka, Evan Dorkin, Roger Langridge, Pete Sickman-Garner, Joan Reilly, Brett Warnock, Chris Staros, Greg Bennett, Chris Oarr, Warren Bernard, and got an authentic fist-pump from Will Eisner as he shouted, “You're a part of the future, kid!” SPX was my first home away from home.

On Tuesday, September 11, 2001, the worst attack on American soil occurred when terrorists flew airplanes into several of our most prominent buildings, murdering over 3000 people. If I remember correctly, SPX was supposed to happen that very weekend and was canceled for obvious reasons. Soon after, a man named Marc Nathan reached out to SPX, and to all the exhibitors who were supposed to attend, and gave them a free room at Baltimore Comicon that very Halloween. The first time I met Marc Nathan, I recognized him in the hotel bathroom and I hugged him before I even shook his hand. Somehow, I fooled Marc (and Brad Tree) into inviting me back as a guest every year since; treating me like I was special for no good reason but because they say so. Two years ago, when my studio mate, Seth Kushner, had a bad run with cancer, Marc came up to my table with a blank check and asked, “How do you spell Seth's last name?” I told him and Marc proceeded to write a check to Seth for $10,000 and said to me, “Please make sure Seth and his family get this money so they can have food and fruit and vegetables.”

Baltimore Comicon is another home away from home and genuinely celebrates and takes care of its cartoonists. Baltimore Comicon is where I met Ramona Fradon, Martin Nodell, Nick Cardy, Herb Trimpe, Jerry Robinson, Sal Buscema, Gene Colan, Joe Kubert, Jules Feiffer, George Perez, Jose Louis Garcia-Lopez, Joe Rubinstein, Ron Wilson, Stan Lee, and Mike Wieringo.
It was at Baltimore Comicon 2007 that writer Mark Waid and I commiserated about the then recent passing of one of his greatest collaborators, Mike Wieringo, and promised that we wouldn't just talk about doing something together like we'd promised the previous years. We'd make it happen because...you never know. Seven years later we made good on our promise collaborating on The Fox for Archie Comics. The Fox of which I convinced Darwyn Cooke to do a cover for. Another talent like no other taken away from us far too soon.

I first discovered North Carolina cartoonist David Trustman while perusing artist’s alley at Baltimore Comicon a few years ago with my studio mate, Christa Cassano. I told her my favorite thing to do at comicons is to discover those diamonds in the rough; the grassroots efforts of outliers. We were unprepared for David Trustman’s self-published comix which has the single most shocking yet absurd images I have ever seen. We’re talking pure, unexpurgated comix! We became friends and, just recently, started collaborating on a free webcomic called GOD SLAP. This is the kind of beautiful thing that can only happen when you curate a room that allows rookies and veterans to mesh with retailers and cos-players and publishers with editors. A full-blown Nerd Mardi-Gras. Whenever someone asks me “how do I let people know about my comix,” I always say, “show up to your own party.” Your party is my party is our party. Make yourself available. Be open to anything and everything and comics will give you back something profound and unexpected.

Comics have come a long way since I picked up a copy of Shazam! #1 off the newsstand in 1973. The border lines between mainstream and independent comics have blurred substantially. Batman, Superman, The Avengers, Jessica Jones, and Wonder Woman can share the same space as Love & Rockets, The Walking Dead, Fun Home, March, and The Story of My Tits. Comics have become more diverse in substance and talent as print dukes it out with digital. The NY Times and most all major news outposts have broken the levee between socially acceptable and the critically inclined, expanding the readership and shifting the dialogue. Fans have become more involved and, dare I say, entitled. And, in order to make comix, it seems that you don't ever have to have read a comic but I highly recommend studying the form and knowing its history. We now have universities and How To books that can give anyone and my mother a leg up on the sequential narrative arts. But, is comix a smart career choice? A good way to spend the majority of your life?

There's a profound scene in the American Splendor movie where Harvey Pekar, played by Paul Giamatti, is sleeping in bed and suddenly wakes up from an apparent nightmare. Terrified, he looks around and says “I got a job. I got a job.” And it quells his fear.

Every night I go to sleep, I have a panic attack and I think about the career I chose and the life I live and wonder what's going to happen? What will tomorrow bring? Will I get more work? Is this where it stops? I remind myself that no one put a gun to my head and forced me to make comix, but I worry so much about comix that I can't breathe and I start to choke and jump out of bed suffocating. I pace around my apartment in the dark until I calm myself down and lay back in bed and, eventually, I pass out. I don't “go to sleep.” I pass out. The only thing that lets me sleep for a few hours at a time...the thing that quells my anxiety is the fact that I'm not alone. That I have this family, that I have all of you, and we're not breaking up. We're not going away. That, some of you are wide awake when I'm fighting sleep, too. And, like me, the majority of the people who make up the comix community are there because they have to be.

Once in awhile I wake up in the middle of the night and I think about you and I say, “I have a family. I have a family.”

Thank you.

You can watch/hear it here: https://www.youtube.com/watch?v=0QNUbbWqhXg
(thanks, Jeff Newelt & Vivek Tiwary)

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Wednesday, August 31st, 2016
10:34 am - The Red Hook - chapter 22
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Can The Red Hook and The Coney restore balance in New Brooklyn before it sinks?


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Read THE RED HOOK for free from the start! http://www.webtoons.com/en/super-hero/the-red-hook/list?title_no=643

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Monday, August 29th, 2016
7:24 pm - Dean Haspiel at Baltimore Comicon 2016
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I'm a guest at Baltimore Comicon 2016 this year and will be tabling at booth #2405 with Christa Cassano, Jason Goungor, Jeffrey Burandt, Chris Miskiewicz, David Trustman & Sarah Moseley. I'm also the Keynote Speaker at The Harvey Awards, and will be signing a free, exclusive THE RED HOOK print at the LINE Webtoons Booth #922, plus a panel and portfolio review (see info below). I also contributed an original Moose pin-up for the Baltimore Comic-Con Yearbook featuring Archie Comics!

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Friday, Sept 2nd

3:00-4:00 - Dean Haspiel signing exclusive/free RED HOOK prints at LINE Webtoons Booth #922

Saturday, Sept 3rd

1:00-2:00 - Portfolio reviews at LINE Webtoons Booth #922

5:15-6:45 Room 339-342 - Monetize YOUR Comics - LINE WEBTOON Discover
Making comics and you can too! LINE Webtoon's Tom Akel will walk you through how to publish and monetize your own IP on the Discover platform and Patreon's Heather Wilder will provide details on a new partnership between LINE Webtoon and Patreon and how creators can take advantage of a new Webtoon creator investment program. Hear from creators who have published their work through Discover while building huge audiences, including Kaitlyn Narvaza (Siren's Lament, Where Tangents Meet), Boredman (Apocalyptic Horseplay/UndeadEd) and Dean Haspiel (The Red Hook).

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Get all your Baltimore Comicon info here: http://baltimorecomiccon.com/

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10:41 am - BEEF WITH TOMATO digital
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ComiXology has the digital version of my graphic novel, BEEF WITH TOMATO.


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9:47 am - The Creators Project reviews Beef With Tomato
"Dean Haspiel's comic about the struggle, grind, and weirdness of New York will absolutely hit close to home for anyone living in the five boroughs. But his character work and storytelling make this tale about a guy trying to get out from a bad situation truly universal: Haspiel’s a prolific creator in the indie/creator owned comic scene, but he’s also well known for creating illustrations for HBO’s Bored to Death. Though this book came out last year, it's worth revisiting (and deserves a spot on this list) now that it's available digitally on comixology."

Here's a link to the review:

Here's a link to the digital version of BEEF WITH TOMATO:

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Wednesday, August 24th, 2016
9:34 am - The Red Hook - chapter 21
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The Possum and The Invisible Light come head-to-head in chapter 21 of The Red Hook!

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Read The Red Hook for free from the start: http://www.webtoons.com/en/super-hero/the-red-hook/list?title_no=643

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Monday, August 22nd, 2016
5:35 pm - Comicsverse interviews Dean Haspiel
I was interviewed at Wizard World Philadelphia in June, 2016 by Jamie Rice for Comicsverse.

Here is a link to the video interview: http://comicsverse.com/dean-haspiel-interview-wizard-world-philadelphia-2016/

This is what Jamie had to say about the interview:

"Dean Haspiel was the first name that I truly locked on to when I looked through the creator list earlier this year for Wizard World Philadelphia. As a huge fan of noir, detective comedies, and HBO in general, I knew that I would love to have the honor of interviewing the artist behind BORED TO DEATH, a detective tv show starring Jason Schwartzman as a novelist turned private detective, and the creator of a webcomic collective named ACT-I-VATE.

Talking to Haspiel showed me that what he was interested in, however, was much larger than just creating beautiful art and writing intriguing scripts. He is also interested in the technological changes that are occurring within the entertainment industry. Particularly, the fact that people are reading and watching their favorite media more and more on their phones. I can say from personal experience that I have tried and failed many times to truly enjoy a comic book on my iPhone. Whether I'm cramming for the next podcast or just trying to ingest the newest issue of BITCH PLANET the minute it comes to my phone on Comixology, Haspiel has accurately identified that the future of film, TV, and comics isn't just in the computer, it's also in the phone. And that artists and writers should plan accordingly.

Outside of that, he is also a super kind and humble guy. Even though this was not my first interview, I was certainly acting like it since it was my first one at this con and Haspiel was someone whose work I had read and seen over the years. Most of those nerves flew away when Haspiel came over to us setting up the camera and began to dance around me before going "Hey it's just an interview. We gotta have fun." If you like fun and smart people, you're gonna love this interview, and if you need a short introduction to Haspiel and his work I would definitely recommend THE LAST ROMANTIC ANTIHERO. It's stunning."


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Wednesday, August 17th, 2016
9:46 am - The Red Hook - chapter 20
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Mom and God and Law come face-to-face in this catastrophic chapter of The Red Hook: http://www.webtoons.com/en/super-hero/the-red-hook/chapter-20/viewer?title_no=643&episode_no=21

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Read The Red Hook from the beginning for free: http://www.webtoons.com/en/super-hero/the-red-hook/list?title_no=643

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Tuesday, August 16th, 2016
2:11 pm - Music & Art
I was never one to make great grades but I wanted to make good art. Music & Art cum La Guardia High School afforded me a time & space to study and practice art, even when my beloved comic books were largely shunned. I am forever grateful to have been part of a specialized and diverse environment that was more concerned with teaching the arts and allowing students to experiment the arts rather than worrying about what an A+ could get you.

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1:15 pm - Seven
Please list your seven current passwords -- I MEAN -- first seven jobs, seven favorite movies, seven favorite bands...seven sandwiches...seven dreams...seven...whatever. Bitch and moan that Big Brother is watching you while you continue to give them every bit of random information they could possibly want. The more we rely on computers, the more we're making it easier to get hacked and taken hostage while our attention is raped by the next fleeting example of ignorant outrage.

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12:43 am - amNewYork: 'New Brooklyn' web comic series gives borough a starring role
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amNewYork interviewed me and Vito Delsante about The Purple Heart, the second series to launch from the New Brooklyn Universe, with art by Ricardo Venancio.


"When two German artists illegally posted a giant white flag atop the Brooklyn Bridge in 2014, law enforcement officials were troubled. But inside the mind of comic book creator Dean Haspiel, a new world began to emerge.

The Carroll Gardens resident’s imaginings have resulted in “New Brooklyn,” a comic book that explores a world in which the borough breaks apart from the rest of New York City — and the United States of America.

Haspiel, 49, and his co-creators decided to tell the borough’s tale through the eyes of Brooklynites who live as superheroes on this newly emerged island. And, as in real life, the characters have to deal with a changing world.

“I talk about what is happening [in real life] and where Brooklyn has gone with the story,” the veteran comic book artist and writer told amNewYork.

Haspiel said he and fellow comic book writer Seth Kushner, who passed away last year, came up with the idea for the series in 2014, after the white flag incident on the Brooklyn Bridge.
“I [imagined] that Brooklyn decided that it was finished with this self-entitled, apathetic world we live in,” he explained. In the comic storyline, that white flag acts as the first sign of the borough’s secession. After that, it floated just far enough away from the city to become a sovereign entity.

Once separated, society changes and artwork becomes currency.

New on the “New Brooklyn” scene is “The Purple Heart,” the second series in the universe, joining “The Red Hook,” which launched in April, both on the free platform LINE webtoons.
“The Purple Heart” launched three weeks ago and features a black Navy veteran who returned to Brooklyn during the separation from the city.

Isaiah “Zeke” Nelson is transformed into a living purple flame, the de facto protector of the new island.

Vito Delsante, who co-created “The Purple Heart” with Haspiel and Ricardo Venâncio, said he wanted his stories to represent the borough’s diversity.

“He could have been white but there is something about making him an African American, being a veteran, and coming from the public houses that gives him more dimension,” said Delsante, a Staten Island native."

Read the entire article here: http://www.amny.com/entertainment/brookyn-gets-starring-role-in-web-comic-series-1.12179909

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Sunday, August 14th, 2016
11:21 am - Success
I happen to enjoy, on a lizard-brained level, some blockbuster intended movie flops. My B-movie tastes don't reflect the demographics and critical response higher-ups require to make billion dollar decisions. Still, I've witnessed too many well-paid executives pass the proverbial buck when an expensive venture tanked, yet, they continue to keep their jobs while too many innocent craftsmen and creatives who didn't have the power to stick to their guns and manifest their unique visions (for better or for worse) took the bullet. Most (if not all) billion dollar decision-making is predicated on the concept (and hope) of wide-appeal but that's lightning in a bottle when it clicks. And, now that we have WAY MORE delivery systems and WAY MORE diverse tastes being met on a regular basis (for the people/by the people) it's become nigh-impossible to invest in something that will make that kind of surefire impact on the cultural zeitgeist. And, the more I think about that very notion, the more obnoxious it sounds, the more preposterous that kind of a business decision is despite pre-sales across the planet paying for such a world-wide venture. Spend less money and make more different things. Success can be the ability to make more of what you love and eat okay under a nice roof around good people.

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Saturday, August 13th, 2016
2:23 pm - Should and Could
If only the self-entitled knew the difference between should and could.

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Friday, August 12th, 2016
11:33 am - Dean Haspiel at Wizard World Chicago
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I am a guest at Wizard World Chicago, August 18-21, 2016, stationed at table B41. I will have copies of my latest graphic novels, BEEF WITH TOMATO, and FEAR, MY DEAR. Plus, rare copies of my exclusive THE WALKING DEAD cover. Ask me about my weekly webcomic series, THE RED HOOK, published for free at LINE Webtoons http://www.webtoons.com/en/super-hero/the-red-hook/list?title_no=643 I'm available for commissions, and I will also be doing six panels throughout the convention (see below).

Click here for Wizard World Chicago info: http://wizardworld.com/comiccon/chicago


Top comics artists talk about their careers, their craft, the comics business and whatever else might come up—and may even show you some of their top-secret techniques! Join peerless pencilers Gene Ha (Batman; X-Men), Bill Reinhold (Silver Surfer; The Punisher), Dean Haspiel (The Red Hook; The Fox) and Steve Geiger (Spider-Man; The Hulk) as they pull back the curtain and tell you what it’s really like to be a comics artist! Danny Fingeroth (How to Create Comics from Script to Print; Spider-Man) moderates.


If you want to be a professional comic creator, this is the panel for you! Learn how to meet editors, how to get noticed by publishers, and how to break into the industry! Join panelists Dean Haspiel, Trevor Mueller, and more as they tell you their stories and answer your questions.


Comics are written very differently from other media. Learn the ins and outs of this unique storytelling medium and how to make your stories come to life! Comic creators Gene Ha, Dean Haspiel, and Trevor Mueller talk through their processes, and answer your questions to help you write your stories.

Accomplished comics writers Greg Weisman (Gargoyles; Young Justice), Dean Haspiel (The Fox; Beef With Tomato), Jai Nitz (Dream Thief; El Diablo for Suicide Squad) and Danny Fingeroth (How to Create Comics From Script to Print; Spider-Man) talk about how to put together a compelling comics story. Plus, they’ll answer your questions about both the creative and business sides of the comics writing profession, including how to find an artist to work with (hint: a comics convention is the number one place!) and how to write exciting dialogue!


Ever read a comic on the internet and said, "Hey, I'd like to do that!" Well, here's your chance to learn how. Webcomic creators Trevor Mueller and Dean Haspiel have over 15 years experience in the web industry, and want to share their knowledge with you!

Ever wonder what it would be like to collaborate on making comics with top professionals? In this fun-and-educational session, celebrated writer Victor Dandridge (Origins Unknown; The Trouble With Love), Emmy-winning artist Dean Haspiel (The Red Hook; Spider-Man) and accomplished inker Mikey Babinski (Deadpool; Scarlet Spider) create a new character and story before your eyes, incorporating audience members' ideas and suggestions! Come see—and join in—the creative process! The panel will be moderated by longtime Marvel writer and editor Danny Fingeroth (Spider-Man; How to Create Comics from Script to Print).

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Wednesday, August 10th, 2016
10:48 am - The Red Hook - chapter 19
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A Mexican stand-off between The Red Hook, The Possum and The Coney with a surprise twist in chapter 19 of THE RED HOOK: http://www.webtoons.com/en/super-hero/the-red-hook/chapter-19/viewer?title_no=643&episode_no=20

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Read THE RED HOOK from the start: http://www.webtoons.com/en/super-hero/the-red-hook/list?title_no=643

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