Axel-In-Charge: Facing the 'Divided' Marvel NOW! Future
Publishing | Matthew Garrahan’s profile of reclusive Marvel CEO Ike Perlmutter is somewhat sharper than the Los Angeles Times story linked last week, as it includes accusations that the 69-year-old billionaire threatened an employee, made a racially insensitive remark, and maneuvered Disney Consumer Products chairman Andy Mooney and three other executives (all African-American women who reportedly referred to themselves as “The Help”) out of their jobs. Nikki Finke follows up at Deadline with details of Disney and Marvel’s attempts at damage control, as well as the news that Disney has settled with the three former execs. [Financial Times]
Retailing | Comics shop veteran Amanda Emmert, executive director of the retailers’ association ComicsPRO and owner of Muse Comics in Colorado Springs, talks about retailing, the health of the industry, and the popular perception of comics shops as men’s clubs: “I have new customers who walk in and tell me how strange it is for a woman to work in a comic book store or a gaming store. Their experience comes more from watching The Simpsons and The Big Bang Theory, as you pointed out, than from seeing a great number of stores, though. I am very lucky to work for ComicsPRO; I get to work with hundreds of stores around the country, a large percentage of which are owned or operated by women.” [Colorado Springs Gazette]
Publishing | Kodansha’s Attack on Titan, the action-fantasy manga by Hajime Isayama, has sold more than 9 million copies in Japan, according to the Sports Nippon newspaper. The eighth volume was released last week in Japan; Kodansha USA will publish the second volume next month in North America. [Anime News Network]
Publishing | Alex Zalben pays a visit to the Valiant offices and talks shop with editor Warren Simons: “Asking whether the idea was to set these up so that you can go right to TV, video games, or other properties, Simons strongly denies that was behind the relaunch. ‘I think you have guys who really love comic books,’ said Simons. ‘I’m just interested in publishing comic books. Obviously in this space, in this day and age you want to pay attention to everything – just like everyone does. But I think it all derives from publishing … [The publishers] just wanted to read comics about the characters that they loved growing up!'” [MTV Geek]
Rather it is a short, illustrated prose fairy tale, and one that, while original, is heavily inspired by and contains elements of many other familiar fairy tales, although not necessarily Iranian ones, with Beauty and the Beast and the story of Cupid and Psyche informing much of the early part of the book.
While it’s not the sort of work Satrapi is best known for, it’s not exactly a departure either. Her 2006 graphic novel Chicken With Plums featured some fairy tale-like sequences embedded within it, even if it the overall story was inspired by stories of a real relative of hers, and that same year Bloomsbury published a children’s picture book of hers entitled Monsters Are Afraid of the Moon.
The Sigh was originally published in Satrapi’s adopted country of France, and Archaia re-published it in an English-language edition late last year. Edward Gauvin handled the translation, and it’s a very lovely-looking book the publisher has put together. I’m not speaking of the art, necessarily—we’ll get to that in a moment—but as in an object.
France gets some cool comics movies. Last year there was The Extraordinary Adventures of Adèle Blanc-Sec; now in a couple of weeks they’ll have Poulet Aux Prunes, an adaptation of Marjane Satrapi’s graphic novel Chicken with Plums.
Oddly, Satrapi’s story of a relative of hers who decides to kill himself after his wife destroys his cherished tār looks like it’s played for laughs in the film. The trailer below shows some surreal fantasy sequences in which Nasser Ali Khan imagines various ways of committing suicide. It’s been a couple of years since I read the book (I reviewed it for Robot 6 at the time), but though I remember its using humor, it’s certainly not the comedy that the trailer makes it out to be. While the suicide plan sounds extreme and ridiculous at first, there’s a hidden reason for it that makes sense once it’s revealed. Discovering the answer to that heartbreaking mystery is one of the book’s most captivating and powerful elements and I dearly hope the film doesn’t sacrifice it for laughs. Satrapi both co-wrote and co-directed the film, so there’s reason to be optimistic.