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Dean Haspiel


16th March 2015

12:45pm: Fox Hunt 4 solicitation
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NEW ONGOING SERIES FROM DARK CIRCLE! "Fox Hunt, Part 4”: The FOX has been punched, thrown, stabbed, crushed, shot at and smothered by a virtual army of super villains—but nothing is stopping Paul Patton, Jr. from finding his son! But that was just for starters—get ready for intense action and psychedelic paranoia as The Fox straddles the line between reality and a world of NIGHTMARE! Who is behind all of this madness? Will Fox's son, the Ghost Fox, make it out of the city alive? Find out as the hunt continues! Featuring cover art from Dean Haspiel, Irvin Rodriguez, Dirk Shearer and Jay Shaw!
Plot: Dean Haspiel
Art: Dean Haspiel, John Workman and Allen Passalaqua
Script: Mark Waid
The Fox #4 CVR A Reg: Dean Haspiel
The Fox #4 CVR B Variant: Irvin Rodriguez
The Fox #4 CVR C Variant: Dirk Shearer
The Fox #4 CVR D Variant: Jay Shaw
On Sale Date: 7/8
32-page, full color comic
$3.99 U.S.

12:54pm: On The Trail Of Fox Hunt With Dean Haspiel - 'A Semi-Noir, Psychedelic Superhero-On-Acid Comic Book'
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Hannah Means-Shannon interviewed me at Bleeding Cool about my upcoming FOX HUNT series with co-writer Mark Waid, and other projects.



"I’ve been visiting the Catskill mountains, in particular Margaretville, Andes, Roxbury and the hamlets of Halcottsville and Arkville, ever since my mother lived there for a good 25 years (before she moved to Florida). Mom drove me a few times to a very long bridge over a huge reservoir called The Pepacton River between two mountain-sides, that no person was allowed to dip their toes in and I learned that a few towns across that stretch were demolished in the 1950s to create a watershed that would direct water to my kitchen sink pipes in Brooklyn; serving 90% of New York State’s water needs.

I was fascinated by this science and history and the heartbreak it surely caused for the friends, families and businesses that were sacrificed so I could drink fresh water. I’ve been collecting books and information about the Pepacton watershed and always wanted to write and draw a semi-fictional graphic novel about it. When considering “Fox Hunt,” I developed a story that would tickle some of my watershed interests and that’s how Beaver Kill in “The Situation” was initially formed."

"I’m digitally inking my line art like in the first series but I’m using my brush for the covers. The editors encouraged me to draw “Fox Hunt” in my Billy Dogma style but I couldn’t reconcile that in any successful way. I envision The Fox as a semi-noir, psychedelic superhero-on-acid comic book, and each project I do has it’s own set of graphic resolve. I’m happy to admit that I cringe when I contrast my art on “Fox Hunt” with my previous art on “Freak Magnet.” It means I’m growing, breaking new ground, and I have a lot more to learn and do."

"I’m currently working on issue 4 and I’m looking at reference from The Cabinet of Dr. Caligari, M.C. Escher’s “Relativity,” Steve Ditko’s Dr. Strange, and George Romero’s Dawn Of The Dead, to give you insight into what’s influencing some of the visuals. I think one of the first movie influences we discussed when developing Fox Hunt, was The Empire Strikes Back, specifically the scene when Darth Vader hires a bunch of bounty hunters, including Boba Fett, to track down Han Solo."
2:42pm: Comics Alliance reviews FOX HUNT #1
Comics Alliance reviews FOX HUNT #1


"Like Haspiel and Waid’s previous collaboration, this series was created in the old “Marvel style,” with Haspiel telling the story through his art before Waid adds the script. It’s a method that has lead to some particularly contentious problems regarding credit in the past, but it’s also created some of the greatest superhero comics of all time, like the original runs of Fantastic Four and Spider-Man.

Here it certainly brings out the best in Waid when it comes to dialogue and wordplay, and by freeing him to focus on that side of the story, it gives us a comic book that sounds like a Waid comic, but is shaped and moves rather differently.

Haspiel excels at drawing well-articulated brawny men and sharp-featured women, bringing a cartoony abstraction to their expressions and faces, and a highly kinetic sense of anatomy — never better demonstrated than when The Fox is all suited-up, as his costume reduces him to little more than a featureless figure with a pair of big, Spidey-sized eyes."

Read More: Review: Waid and Haspiel's 'The Fox' Returns in 'Fox Hunt' | http://comicsalliance.com/waid-haspiel-fox-hunt-dark-circle-advance-review/?trackback=tsmclip
5:10pm: The Beat reviews FOX HUNT #1
The Beat reviews FOX HUNT #1


"The Fox makes you wonder what a Spider-Man book would have looked like if Peter Parker had been allowed to grow up, stay married, and have kids. The Fox is a chance to prove wrong the folks who say the superhero status quo has to stay frozen for decades, that it’s better to poison the well than to move forward. The Fox is aware of the past 75+ years of superhero comics, superhero gimmicks, and superhero clichés. But it’s not trying recreate them or preserve them in amber. The Fox puts the mask on one more time and and strives to make some new memories."

6:11pm: The Comic Vine reviews Fox Hunt #1
The Comic Vine reviews Fox Hunt #1.


"The Fox is back along with Dean Haspiel and Mark Waid. Whether you've read the previous volume or you're new to the character, this is a new series anyone can jump into. The Fox isn't your typical superhero and we get to see some insight into the way he thinks and how he feels about being a superhero. Haspiel's art sets the tone for the comic book world and there are plenty of characters that show up to make you want to come back for more. The best thing is, this is pure storytelling. There's no gimmicks to get in the way of the story."

9:12pm: Multiversity reviews FOX HUNT #1
Multiversity reviews FOX HUNT #1


"The reason that this all works, undoubtedly, is Dean Haspiel. Haspiel, a cartoonist who won an Emmy for the opening credits of Bored to Death, is one of the finest illustrators working today, and this issue reminds you of that at each turn. His Fox always looks slightly goofy, with the requisite floppy ear, and his managing of facial expressions is so refined that the book could practically work silently. His eyes are the key to his work- from the Fox’s plain white discs to the pain and longing in the villain’s, every one tells a different story.

His visual storytelling is both kinetic and smooth, allowing the reader to leap along with the Fox, while still having beautiful moments of pause and reflection. Shinji’s side trip to the church might be seen as just an excuse to give Paul some time by himself, but Haspiel uses the moment to draw a beautiful stained glass window, and let the reader take a breath before the breakneck conclusion of the issue. Haspiel’s pacing is masterful, allowing each scene the proper room to breathe without settling into boredom.

Mark Waid is scripting the series from Haspiel’s plot, and Waid slides right into Haspiel’s voice. So many of the internal monologues are reminiscent of Billy Dogma, Haspiel’s fictitious alter ego, who fights for love and pride in psychedelic adventures that take the reader on journeys through the subconscious, past the id and back again."

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