EXCL. PREVIEW: Crystal Wrangles NuHumans in "All-New Inhumans" #1
In celebration of the 20th Small Press Expo, held this weekend in Bethesda, Maryland, comiXology if offering a special SPX-themed bundle from Submit, its self-publishing platform for independent creators.
Available for this weekend only, the digital comics distributor is offering more than 80 titles by creator and small-press publishers exhibiting at the show for just $10.
In early August, in the wake of Mike Dawson’s conversation-starting essay, Magic Whistle creator Sam Henderson assessed the mitigating factors affecting his work as a cartoonist, laid many of the challenges at his own feet. As refreshing as it was to read a candid assessment of his creative plight, I was curious to learn Henderson’s mindset after people he responded to his post. While I was at it, of course, I angled to get a glimpse of his creative process.
Comics | Writing for The Advocate, Jase Peeples takes note of the diversity of DC Comics’ extended Batman family — from Batwoman to Batwing to Barbara Gordon’s roommate Alysia Yeoh — and talks with writers Gail Simone, Grant Morrison, Marc Andreyko, Tom Taylor and Chip Kidd. “I would like to think that people can pick up books like Batman Incorporated or The Multiversity and see their own lives reflected,” Morrison says. “But I’d always caveat that with the need for us to see more diverse writers and artists, because that’s when I think the walls will really come down. As a straight [white guy from Scotland] I can only do so much, and I find even sometimes when you do this, you do get accused of tokenism or pandering. I don’t mind it. I can put up with that, but I’d rather see a genuine spread of writers and artists creating this material.” [Advocate.com]
Digital comics | Bruce Lidl looks at the digital-comics landscape following Amazon’s purchase of comiXology a few months ago. ComiXology’s announcement that it would allow DRM-free purchases of some comics may lead to a fissure in the market, he says: “In fact, we may be beginning to see a kind of bifurcation in the digital comics market, between companies tied to large global media conglomerates, that maintain a fervent faith in the need for some kind of DRM control for their multi-billion dollar intellectual properties, and the smaller publishers more concerned with creator autonomy and exposure.” He also talks to some digital-first creators about how they approach the market. [Publishers Weekly]
With Genius #1, by Marc Bernardin, Adam Freeman and Afua Richardson, going on sale Wednesday, Top Cow Productions is offering the “zero issue” — the 2008 Pilot Season one-shot — for free on comiXology.
Arriving weekly throughout August, the five-issue miniseries follows teenager Destiny Ajaye, the greatest military mind of her generation, who unites the gangs of South Central Los Angeles and secedes three square blocks of her neighborhood from the United States. Continue Reading »
Conventions | Image Comics content manager David Brothers explains why this year’s Comic-Con International was a great convention, pointing out that there’s a lot more to the event than movies and television, and there’s a lot more to comics than the Big Two: “Marvel and DC are comics, just like the other publishers, and they make some great ones when they let the creators do their own thing. But at this point? You can’t treat them like the entirety of the comics industry, or even two companies that can dictate the future of comics. They run the movies, and that’s cool, but running comics? It’s just not true any more. Image in particular outsells Marvel in the book market as far as trade paperbacks go, and that holds true in the comics market lately, too. That’s no coincidence. People enjoy Marvel and DC, but they want more than Marvel and DC.” [io9.com]
[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]
After last year’s comiXology server blackout, I asked the digital comics provider to drop the leasing arrangement it was using. I was not the first or the last to protest the use of DRM, or digital rights management, technology to prevent people from owning a file of the comic they just purchased. It has consistently been a point of contention for a segment of potential customers, and now our wish is granted. comiXology shook up Comic-Con by announcing they are now offering true downloads of DRM-free back-up files for purchased digital comics.
Top Shelf Productions is again celebrating Comic-Con International with a “Cyber-Con Sale,” offering deep discounts on 150 digital titles, including March Book One, Monster on the Hill, God is Disappointed in You, American Elf and From Hell.
The publisher’s “biggest digital sale ever” also includes Eddie Campbell’s Bacchus, available now for the first time in digital form. (All of the Top Shelf titles are DRM-free, too, and downloadable in PDF, CBZ or ePub formats.)
But for the Top Shelf aficionado, there’s this: comiXology’s Top Shelf Treasury, featuring 172 titles — every comic and graphic novel the publisher offers on the digital platform, more than 25,000 pages in all — for $149.99. As Chris Ross, Top Shelf’s director of digital publishing, said today during the company’s Comic-Con International panel, that collection would give readers “a bachelor’s degree in independent comics.”
The “Cyber-Con Sale” ends when Comic-Con does — Sunday. So you’ll have to act fast.
The biggest comics news Thursday out of Comic-Con International was undoubtedly that, after years of debate, comiXology has introduced DRM-free backups of titles purchased from its storefront, with Image Comics, Dynamite Entertainment, MonkeyBrain Comics, Thrillbent, Top Shelf Productions and Zenescope Entertainment signing on to the program.
An email went out last night notifying customers that books they’ve purchased can be downloaded and stored as PDF or CBZ files, and pointing them to an FAQ on the subject.
“This has been an oft-requested feature,” comiXology CEO David Steinberger said during the company’s Comic-Con panel. “It’s a real backup file — it’s a fairly plain PDF or CBZ. They are high resolution, not a lot of bells and whistles, and my feeling is that people will continue to use the cloud-based reader to do their reading.”
The other big announcement was that Marvel will publish Avengers: Age of Ultron, an in-continuity graphic novel by the Uncanny X-Force team of Rick Remender, Jerome Opeña and Dean White scheduled to arrive in April 2015, ahead of the premiere of Avengers: Age of Ultron.
ComiXology is celebrating its fifth anniversary with a deal that’s pretty difficult to pass up: a bundle of 100 titles from comiXology Submit, its self-publishing platform for independent creators, for just $10.
That’s 10 cents each for comics like Wolves by Becky Cloonan, Aw Yeah Comics! #1 by Art Baltazar, Franco and others, nemu*nemu: Out of This World by Audra Ann S. Furuichi, Feather #1 by Steve Uy, and The Pride #1 by Joe Glass, Marc Ellerby, Joshua Faith and Gavin Mitchell. Plus, y’know, 95 others.
This year, The Oatmeal dominates the Eisner Best Digital comic category as “the one that most people have heard of.” That’s pretty much in direct contrast to last year, which was populated by five relatively obscure titles. It’s a testament, I think, to the far-reaching diversity of webcomics, where few ever become pop culture superstars but many have devoted fanbase. You had indie-style comics like Ant Comic and It Will All Hurt, the haunting short story Our Bloodstained Roof and the classic Thimble Theater-inspired art of Oyster War.
The eventual winner, though, was the one that most closely resembled a traditional comic. Paul Tobin and Colleen Coover’s Bandette (Monkeybrain Comics) was the first Eisner winner that had to be downloaded from comiXology — a true “digital comic” as opposed to a “webcomic.” I imagine that the familiar panel layout was the one least likely to send traditionalists into paroxysms. Heck, the tone of the story itself feels very much like a throwback to both Silver Age comic stories and European all-ages fare like The Adventures of Tintin. But so what? It’s old school, and in a way that made it refreshingly novel.
The announcement late last month that digital distributor Graphicly would close and its key employees join self-publishing platform Blurb was met immediately by questions, many of which centered on whether the company’s clients will be paid what they’re owed.
Originally envisioned as “iTunes for comics,” Boulder, Colorado-based Graphicly was soon overshadowed by competitor comiXology, and in 2012 shuttered its comics app to focus instead on providing visually based books and comics to eBook platforms. In its most recent incarnation, Graphicly was a digital conversion and distribution service: For a fee of $150, the company would convert a comic to ePub and other formats and distribute it to digital platforms such as Amazon’s Kindle, Barnes & Noble’s Nook and Apple’s iBooks. Graphicly would then act as middleman, collecting money from sales on those platforms and passing it along to the creators. Unlike other digital comics distributors, Graphicly didn’t take a cut of sales on eBook platforms, just the upfront fee.
Since Graphicly announced its closing on May 27, a number of creators have asserted publicly that the company wasn’t tracking sales correctly and hasn’t paid them what they’re owed from sales. Bleeding Cool spoke to Dave Dellecese and representatives of Th3rd World Studios, as well as a former Graphicly employee. At The Beat, Marc Ellerby and Mike Garley told similar stories, and Eric Grissom and Dara Naraghi added their names in the comments. Ellerby tweeted:
More than 500 volumes of such top-selling manga as One Piece, Naruto and Death Note debuted today on comiXology as part of a new North American distribution agreement with Viz Media.
The publisher, which already had its own self-contained app for multiple platforms, brought its digital catalog to the Amazon Kindle in October; just days later, comiXology announced a deal to distribute titles from Viz Media Europe and its subsidiary Kazé to French-speaking European countries. Amazon purchased comiXology in April.
Nearly two months after Amazon announced the purchase of comiXology, the first title from the retail giant’s Jet City Comics imprint has debuted on the digital comics platform.
Wool: The Graphic Novel, an adaptation of the bestselling sci-fi novel by Hugh Howey, will be serialized in six biweekly issues beginning today on comiXology for $2.99 each. The full run is also available for $4.99 on Amazon.com as a Kindle Serial, with new issues arriving on the same schedule; comiXology will offer a $4.99 bundle once all six installments have been released.
A dark, dystopian story set on a post-apocalyptic Earth, Wool was published in 2011 by Howey as a novelette through Amazon’s Kindle Direct Publishing system. As it attracted a following, he wrote more installments, which became the bestselling Silo Series. The graphic novel is written by Jimmy Palmiotti and Justin Gray and illustrated by Jimmy Broxton; a print edition will be released in August.
Amazon launched its Jet City imprint in July 2013, intending to serialize its titles for the Kindle, and then offer bundled digital editions and print collections. Naturally with the acquisition of comiXology in April, the distribution channels expanded.
While many of us spent Monday barbecuing, watching X-Men: Days of Future Past or otherwise enjoying the day off from work, comiXology got a jump on the season with the launch of its “Summer Reading List,” offering one free digital comic a day for 20 days.
The initiative debuted with Detective Comics #827, by Scott Snyder, Jock and Francesco Francavilla, the issue that began the writer’s celebrated run on Batman. What’s today’s selection? It’s a good question, one that should be answered any … second … now.