Tuesday, August 16, 2016


Albatross Funnybooks is pleased to announce that Hillbilly #1 and #2 are going to second printing with new covers. We could not be more thrilled with the reception Eric Powell's new series has Received. The first two issue of the fantasy series quickly sold out and have become immediate sought after books on the collectors market. 

Thank you to all the readers and retailers that made the launch of this title a success! 

The 2nd printings are available for retailers to order now through Preview Plus.


Wednesday, July 27, 2016

Jack Davis

Just at the grocery store and received a text from my girlfriend Andrea telling me that Jack Davis had died. 

There is one clichéd question every comic artist gets asked a million times. “Who are your influences?” My abbreviated answer is, “Will Eisner, Jack Davis, & Wally Wood.” That is the simplified list of my comic book heroes. The trifecta who's work I’ve endlessly stared at and have been jealous of. Jack Davis is without question one of the greatest cartoonist to have ever lived. His work on EC Comics, MAD Magazine, TV Guide and countless other commercial illustrations… what is there to say? It speaks for itself. I’ve always felt somewhat of an unsubstantiated kinship with Davis. Being that we are both southern boys who made it in comics. Both worked in horror and humor. We’re both football fans. Heck, our teams, his Georgia Bulldogs, which he did illustrations for, and my Green Bay Packers (proud shareholder) have practically the same logo. Georgia having the black “G” in the white oval and the Packers having a white “G” in a green oval. It’s that kind of dumb trivial stuff that you create in your head to link yourself to your heroes. It means nothing but just gives me more of an excuse to love him.

When Tony Moore and Rick Remender pulled off getting a Jack Davis cover for the premiere of their book Fear Agent, a love letter to EC Comics Sci-Fi if ever their was one, I was simultaneously thrilled and envious of them. I dreamed of getting a Davis cover for the Goon but thought the content was not something he would care for. Especially since I had heard he wasn’t particularly proud of his old EC horror stuff. Some years passed and I thought it wouldn’t hurt to at least ask. To my shock and amazement he liked the art in the books we sent him and agreed to do a cover. I gave him very little art direction other than to do whatever he wanted and to draw the Goon like a linebacker. A reference I knew he’d get. Because there was no story to go with the cover, I thought I would just do a one shot to fit. The Goon: One for the Road became my tribute to Jack Davis. I don’t think it’s a great comic, but it was done out of admiration and respect. The best part by far is the Jack Davis cover. Having him do a cover for me was one of my all time career highlights. Shortly after this cover he officially retired and I realized how extremely lucky I was to get it. It was one of his last illustrations. 

So, I’m gonna crack open a bottle of bourbon, sit here staring at this Jack Davis Goon cover (of coarse I bought it!), and raise a glass to a hero. 

Thanks for all the inspiration, Mr. Davis.

Eric Powell
Nashville TN

(Jack Davis Goon prelim sketches)

(Final painting) 

Thursday, December 31, 2015


When I started Albatross Exploding Funnybooks in 2002 it was out of desperation. I had pitched The Goon to every publisher out there and nobody wanted it. Nobody wanted me. My freelance work had completely dried up and I couldn't give sketches away at a convention. But I don't believe in quitting and I felt I had a voice that wasn't being recognized in the type of work I was being hired to do. So I started self publishing and the rest is history. The Goon later found a permanent home and a larger readership at Dark Horse Comics and I was able to make a career for myself with creator owned comics. 

I continued to publish through Albatross over the years with books like Chimichanga and Rebecca Sugar's Pug Davis, but it wasn't until this last year that I started to believe I should attempt to set my publishing goals a little higher. So, I'm happy to announce a new look and a big return to Albatross Funnybooks in 2016! 

We will shortly be announcing the release of 3 titles through Albatross and hope to grow from there. With an emphasis on quality over quantity, we hope to bring you the best in new creator owned projects from some of the best creators in the business! 

To everyone who has enjoyed and supported my work through the years, I hope you are come along with me on this next leg of my journey through the world of funny book makin'! THANK YOU! 

-Eric Powell

Nashville TN

Monday, October 5, 2015


On Wednesday October 7th, The Goon: Once Upon a Hard Time #4 hits the stands. When I first envisioned doing a large two part story (Occasion of Revenge & Once Upon a Hard Time) I didn’t foresee it as the series finale. But as the story took shape it was clear that’s what it was. So often, especially in the medium of comics and television, it seems that in the interest of keeping the profitable property going the more interesting story is forsaken. The more interesting story being… the end. Self parody and repetition take over until the flavor is lost and that filet mignon now tastes like a hotdog off a truck stop rotisserie. Shriveled, burned out, and old. So when the clear path of the better story presented itself, I felt that rather than leaving the plot open ended to continue the same old Goon, it was instead time to fuck shit up. 

I’ve always tried to put my artistic money where my mouth is, even at times to the detriment of my own career, so as much as parts of Once Upon a Hard Time #4 hurt me to put on paper, I put them down. It was the better story. It would only be doing a disservice to myself as a cartoonist and you as the reader to do otherwise. 

The Goon was a great artistic experiment for me. I grew in leaps and bounds as an artist and storyteller working on it for the last 16 years. I still have a long, long way to go on that front but I feel I’m continuing to grow. I still have ideas for stories set in the Goon’s universe, but I also have a notebook full of ideas that have accumulated over the years that need tending to. To say I’m excited for you guys to see this new stuff is putting it lightly. To give you a new book you enjoy as much as you did the Goon is my new goal. Maybe even a couple! 

I appreciate all of you who ever bought a copy of the book. Who allowed me to experiment and be completely unfettered to do any crazy thing I wanted to do. I’ve said it before, and I’ll say it again… I have the best readers in comics. Diverse, intelligent, bucking trends, and a little fucked up. MY KIND OF PEOPLE! I hope you all come along with me for the next part of this journey. I don’t know where in the hell it’s going, but those are the best kind of road trips! 

-Eric Powell

Thursday, May 22, 2014


“It’s Road Warrior … with giant monsters!”

In 2010 and 2011, my co-writer, Tracy Marsh, and I had the pleasure of working with the awesome folks at IDW and amazing artists Phil Hester and Victor Santos on Godzilla: Kingdom of Monsters. As a lifelong fan, it was a thrill to do anything Godzilla-related. Unfortunately, as often happens in creative fields, differences of opinion came up when developing stories. Toho, the Japanese company that owns the rights to Godzilla and his universe of kaiju, wasn’t comfortable with the direction we wanted to take, and since Tracy and I didn’t feel we could execute our concept as well as we planned, we stepped away from the book after eight issues. I tend to stick to creator-owned books, and when I venture out of that, it’s only because I’m inspired by the subject matter and feel like I can execute it really well. Toho obviously has a great responsibility to the characters they own, and they’re rightfully protective of them. While I wish they would have let us tell our Godzilla story as we envisioned it, I completely understand their reservations and hold no animosity. It was a work-for-hire job, and our ideas weren’t making the client happy.

However, I thought it would be fun to share with you readers who followed the book exactly what we intended to portray. Here’s our initial pitch for the series, originally entitled Godzilla: Monster World:

by Eric Powell with Tracy Marsh
Godzilla, Mothra, Rodan and the rest of the Toho library of monsters have defined the genre for a generation of giant monster film fans. Now adults, these monster enthusiasts are hungry for a contemporary take on these characters. And that is the objective of Godzilla: Monster World. The monsters function as an allegory for modern-day society’s inability to effectively cope with disaster. Like Hurricane Katrina and the BP oil spill, the monsters come, and the incompetence of the government and the public in dealing with them leads to mankind’s ultimate undoing.

With the obvious exceptions of the mechanical and space-oriented breeds, the origin of the monsters is never explained. Foregoing cliché science fiction explanations like genetic mutation and alien races allows readers to draw their own conclusions while reconnecting with the unnervingly raw and bleak nature of the original 1954 Godzilla film. Introduced one or two at a time, starting with Godzilla, the monsters are simply a force of nature whose attacks can be no more predicted or rationalized than a lightning strike. The mysterious nature of the events plays just as large a role in advancing the plot as the monsters themselves.
This book will entertain fans looking for all-out monster action as well as those seeking stories with intelligent, thought-provoking themes. Satirical elements like the monster rights organization M.E.A.L.S. (Monster Equality and Living Standards) provide a few light moments in an otherwise black comedy of errors, but our intent is to engage the reader by lending a sense of realism to the fantastic idea of giant monsters.

 Just as they would with any other natural disaster, the book’s human characters face realistic consequences of the attacks. As the destruction of cities gives way to crumbling infrastructure—fresh water, food, shelter, electricity, sanitation, transportation, communication, etc.—the humans are driven to commit unspeakable acts against one another in a race for resources. It’s survival of the fittest. But for the humans in Godzilla: Monster World, it’s only a matter of time until you die.
A full-scale apocalypse is brewing. There will be no clean-cut heroes with perfectly chiseled chins and capes billowing in the wind. Only ordinary human beings struggling desperately to survive in a world gone mad.

Confronted with the concept of doing a serial Godzilla comic, I quickly came to the realization that the continually repeated film format of “monster comes, monster attacks, monster fights, monster returns to the ocean” wouldn’t work in an ongoing series. Seeing our society’s ineptitude when dealing with disasters like Hurricane Katrina and the BP oil spill made me wonder what would happen to our infrastructure if indestructible, city-sized monsters attacked. It would crumble, of course. In the face of unrelenting monster attacks, there would be no way to keep up with rebuilding efforts. So our idea was that—through an epic storyline—we would show the decline of civilization into a post-apocalyptic monster wasteland.

I’m more than a little bummed that Tracy and I never got to fully execute our idea. It was bittersweet for me to see this kind of concept being done in Pacific Rim last year. That movie featured several elements that we wanted to incorporate in our book … right down to the massive walls constructed to protect citizens from the monsters. (Obviously, our wall was a satirical take on the physical barrier between the U.S. and Mexico built by immigration extremists.)

When Tracy and I left the project, we had just scratched the surface. The book we put out lacked all the grit we’d originally aimed to include. I really wanted to make an epic story that was also a social commentary like the 1954 Gojira film. We tried very hard to do so. If you read Godzilla: Kingdom of Monsters, Volumes 1 and 2, which comprise the eight issues we wrote, you can see they’re dripping with social satire. Unfortunately, those volumes also contain a lot of setup with no payoff.

So for the record, this is what we were going to do …

While the introduction and death of characters was going to be a constant in this apocalyptic book, the ever conflicted patriot, Sergeant Woods, was going to be our Mad Max. He was our shaky moral compass, clawing his way to keep himself and Allie, the little girl whose parents were killed right before Woods finds her, alive.

And then there was the red herring of the Shobijin twins. Tracy and I had a lot of twists and turns planned for these characters, and we wanted to use the readers’ expectations against them in a couple of ways. We wanted readers to think: one, that Minette and Mallorie, the telepathic French twins we introduced, were Mothra’s fairies; and two, that like most reboots, we were taking familiar characters and making them edgy and dark. Well, Minette and Mallorie weren’t Mothra’s twins at all. Instead, they were a couple of evil Village of the Damned–style psychics who had the ability to control the monsters. This realization began to unfold for readers in Issue #3, when the egg that everyone expected to contain Mothra hatched to reveal the evil Battra instead.

The actual Shobijin twins were shown in the final panel of Issue #3 with their caretaker—an old man watching the monster madness unfold from a dilapidated shack. Tracy and I planned to set up what would appear to be an approaching conflict between the evil twins and the Shobijin. However, it was eventually going to be revealed that the tiny girls the old man was talking to were actually just wooden dolls and he was, in fact, completely out of his mind. The old man’s madness, though, had some method to it, and he would have later supplied Sergeant Woods with much information about the evil twins’ power and purpose.

As society collapsed, the twins were going to start collecting the monsters they brainwashed, building an army. They would use this colossal force of beasts to help them reach their goal of ruling the remains of the ruined world. The one monster they could not control, however, was the king of them all, Godzilla! The spoiled twins would unleash their monsters on Godzilla to destroy the one being that had defied them, setting into motion an epic monster battle. Piloting Mechagodzilla, the monster deterrent gone haywire, Sergeant Woods would come to the aid of Godzilla, saving him from certain defeat. After the twins were killed in the battle, and the monsters had regained free will, Godzilla would turn on his mechanical partner and destroy Mechagodzilla, with Sergeant Woods still inside. Allie would be left alone in the wasteland, Sergeant Woods having sacrificed himself to keep the maniacal twins from ruling the earth.

From that point, there would be only more death and destruction as clans of men and warrior tribes vied for survival and reign among a world of monsters. New threats would relentlessly pummel man and monster alike in the forms of SpaceGodzilla, Destoroyah, Titanosaurus, Hedorah and more.

Tracy and I started writing in the fall of 2010. We laid out several issues really quickly. One thing we immediately knew we wanted to do was foreshadow the arrival of certain monsters using unexplained natural phenomena. In the opening panel of Issue #1, dead fish litter the Japanese beach that Godzilla soon explodes from. In Issue #2, dead birds fall from the sky in Russia, and hundreds of cow carcasses are discovered in Mexico.

Here’s the weird part. One to two months after we finalized and submitted each script, this stuff actually happened. In December of 2010, tens of thousands of dead fish washed up along the banks of the Arkansas River. Weeks later, thousands of birds mysteriously died in Louisiana, Arkansas, California and Italy. In mid-January 2011, 200 cows keeled over in Wisconsin.

We thought we were really onto something. That, or we were predicting the future through funny books.

But no matter how on board the universe was with our storyline, Toho wasn’t down with our grittier take on all out monster destruction. Like I said before, I understand, but I was really looking forward to  the opportunity to give fellow Godzilla fans a new and different kind of Big G story that paid homage to the social commentary of the original movie. Not being able to execute it the way we wanted to was disappointing, but hopefully you will enjoy hearing our plans and picturing what the book might have been like.

Monday, May 12, 2014

THE GOON MOVIE: Update 5/9/14

We are MILLIMETERS away from a completed, cleaned up first pass.”
-Tim Miller at Blur

Hey, Goon fans, as you know David Fincher, Blur Studios, Dark Horse Entertainment, and I have been slugging away at getting the Goon on the big screen for some time. It’s been a long road, but being the stubborn S.O.B.’s  that we are, we refused to take Hollywood’s lack of vision for non-childish animation as an answer and remain undaunted in bringing you a faithful adaptation of Goon in all his pipe wrench across monster mug glory. There is a new generation of animation fans out there who want more mature material that isn’t filled with rainbows and kittens and cookie cutter plot lines of mass marketed crap meant to sell fluffy toys to five year olds. THEY WANT THINGS SHOT IN THE FACE AND NON-FLUFFY TOYS OF THINGS BEING SHOT IN THE FACE!! And we’re ready to give you that!

Thanks to your unwavering support and help with a record breaking Kickstarter program to fund the Goon story reel (a loosely animated story board version of the entire film), we continue to inch closer to our final goal of Franky, via Paul Giamatti, screaming, “KNIFE TO THE EYE!”, in theaters world wide!  (THE GOON KICKSTARTER PAGE)

I know a lot of you must be wondering what’s been going on since the Kickstarter. Well, everyone at Blur has been hard at work on the story reel and are just about finished compiling the first edited pass. At that point, Fincher, Blur, and I will be sitting down to go over some final edits. To say it’s going well would be putting it lightly. I have seen about 90% of the story reel footage, and I’m super proud of the efforts of everyone involved. Everyone remains just as passionate as ever to get this film completed, and it shows in every frame of the story reel.

We still have hurtles to cross, but armed with this story reel and your overwhelming support, we remain confident we will find the right home for this film.


Monday, March 17, 2014

THE GOON: ONE FOR THE ROAD one-shot out in June! OCCASION OF REVENGE starts in July!

Hey, guys! To round out our next Goon collection, and to give you one more light hearted Goon tale before we make you feel all depressed about life and stuff with OCCASION OF REVENGE in July, Dark Horse is releasing THE GOON: ONE FOR THE ROAD one-shot June 25th!

With a cover by one of my all time funny book heroes and one of the greatest cartoonists of all time JACK DAVIS!!

The Goon is back!
The Goon: One For the Road
Eric Powell (W/A), Dave Stewart (C), and Jack Davis (Cover)
On sale June 25
FC, 32 pages
Goon and Franky meet a sailor on the hunt for his buddy . . . but trouble ensues when the trio go bar to bar in genre-hopping pursuit.