Publishing | J. Michael Straczynski discusses the revival of Joe’s Comics, which returns in May with the Image Comics release of Ten Grand, illustrated by Ben Templesmith. Top Cow was home to the imprint from 1999 to 2004, publishing such series as Delicate Creatures, Midnight Nation and Rising Stars. A preview of Ten Grant will be available in April at the Chicago Comic & Entertainment Expo. [MTV Geek]
Creators | Ryan North, creator of Dinosaur Comics and the writer for the Adventure Time comic, talks about his work habits. [Lifehacker]
Creators | Penny Arcade co-creator Mike Krahulik talks about Strip Search, the reality TV-style webseries they will launch on Friday. [IGN]
Creators | Colorist Jordie Bellaire launches a protest against a convention that refuses to include colorists as guests. “Your one sentence, ‘this is not a colorists thing,’ was surely the most pigheaded and dismissive thing I’ve been told since I began professional coloring,” she writes, and then goes on to point out all the things colorists do to make comics great and make a forceful argument for including them (as many major cons already do). In a later post she explains why she won’t name the convention. [Jordie Colors Things]
Graphic novels | A study soon to be released by a University of Oklahoma researcher shows that students who read a textbook in graphic novel form retained more than those who read a straight prose textbook. [The Oklahoman]
Passings | Italian comics artist Sergio Toppi has died at the age of 79. Most of his work seems to have been in Italian and French, but Archaia has plans to publish an English-language edition of his version of the Arabian Nights, Sharaz-De. [The Beat, Archaia]
Comics | Brian Truitt marks Spider-Man’s 50th anniversary by talking to creators from Stan Lee to Brian Michael Bendis about the 10 traits that make the web-slinger special. On a related note, Complex runs down the 50 most iconic Spider-Man images. [USA Today]
Publishing | If you’re interested in self-publishing, Todd Allen’s latest article about Ingram’s new, lower-cost color print-on-demand service is a must-read. Allen does the math for several different scenarios, in terms of format and distribution method, and boils it down into several handy charts. [Publishers Weekly]
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]
Alimagno was at Marvel from 2009 to 2011, and during that time he helped to establish a system of colorists pinch hitting on deadline crunches. But perhaps more significantly, he helped foster a house style based not on a specific penciler’s style but on a color palette he nicknamed “the perfect sunset” palette.
“From my time at Marvel, the editors valued colorists with warmer palettes rooted in playing off reds and oranges and lighter yellows and blues. Led by Richard Isanove, Laura Martin and Justin Ponsor, this style set the tone for the entire line and gave Marvel’s comics a much more inviting look and feel than most of the DC Comics line.”
This kind of consistent color tone could also help other books stand out when they broke the pattern. As he explains, Dean White’s work on Uncanny X-Force, which went against this palette by using whites, helped turn a lot of heads to Jerome Opeña’s art. The next time you’re at the comic shop, take a look at Marvel’s new releases and see if you can identify what palette is being used.