comiXology Archives - Page 3 of 21 - Robot 6 @ Comic Book Resources
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.
Last year at Comic-Con International, comixology teamed with The Hero Initiative for an event that drew in top industry names to create The Blank Page Project, a massive jam board filled with sketches and signatures, all to benefit the nonprofit organization. One source says the mural is 10 feet by 12 feet, and another says it’s 9 feet by 13 feet. Whatever the case, it’s big, and it’s now up for auction by Heritage Auctions.
Among the contributors to the piece are Tim Bradstreet, Jeffrey Brown, Mark Buckinham, Chris Burnham, Amanda Conner, Colleen Coover, Paul Cornell, Nick Dragotta, Kevin Eastman, Ulisies Farinas, Christos Gage, Sterling Gates, Dave Gibbons, Steven Grant, Lea Hernandez, Phil Jimenez, Denis Kitchen, Ron Marz, Bill Morrison, Jerry Ordway, Jimmy Palmiotti, George Perez, Nate Powell, Norm Rapmund, Stjepan Sejic, Walt Simonson, Bruce Timm, Paul Tobin and Mark Waid.
See the full piece below. Online bidding continues through May 15; the auction will be held May 15-17 in Dallas.
Publishing | I talked with TOON Books founder Francoise Mouly about her new imprint, TOON Graphics, which will feature “visual books” (picture books and comics) for readers ages 8 and up. The line launches with three titles: Theseus and the Minotaur, by Yves Pommaux, Cast Away on the Letter A, by Fred, and Hansel and Gretel, retold by Neil Gaiman and illustrated by Lorenzo Mattotti. [Publishers Weekly]
Commentary | Former DC Comics senior editor Joan Hilty tackles the issue of sexism in comics and calls for publishers to include more women in their senior editorial rank:. “Women are getting the bestselling books into stores and greenlighting the million-dollar movie franchises, but they’re barely represented among the creative executives who map out the universes and storytelling strategies. That’s where you cement broad-based, long-term loyalty to authors and characters, tap new audiences and trends, and grow readership, without which none of those books or movies would exist.” [The Guardian]
Creators | Robot 6 contributor J. Caleb Mozzocco interviews Danica Novgorodoff about The Undertaking of Lily Chen, her graphic novel about a young man who sets out to find a female corpse to be buried with his dead brother—and winds up with a woman who is very much alive. [Good Comics for Kids]
Creators | Audrey Niffenegger, author of the prose novel The Time Traveler’s Wife and the graphic novel The Night Bookmobile, describes how she collaborated with Eddie Campbell to make a comic for special comics issue of The Guardian’s Weekend magazine. [The Guardian]
I used to wake up every Wednesday, grab my iPad and start downloading comics via comiXology before getting out of bed. Apparently those days are over, and I’ll now be … well, hitting a different button to make my purchases, then jumping back over to comiXology to actually download them.
If you missed it, comiXology implemented what many predicted would happen when they were bought by Amazon — they’ve removed their storefront from their iOS apps and are instructing iPad and iPhone customers to go to their website to purchase comics. Android users will also see a change, as comiXology removed the ability to pay through Google and added the ability to pay with either a credit card or PayPal. It’s nice that on the Android side they have the option to add their own shopping cart, but of course, with iOS devices, there’s only one way to pay, and that way involves 30 percent of the sale going to Apple.
Manga | The 13 volumes to date of Hajime Isayama’s dystopian fantasy Attack on Titan have sold a combined 30.37 million copies in Japan, making the manga only the third series to do so since market research firm Oricon began tracking the numbers in 2009 (the first two were, of course, mega-hits One Piece and Naruto). [Anime News Network]
Digital comics | John Casteele considers the acquisition of comiXology from Amazon’s point of view: “It’s easy to see how the ComiXology purchase is going to benefit Amazon. Access to the ComiXology platform not only provides the company with additional revenues from the growing digital comics market and to the comic series that had the highest-selling single issue in 2013 (The Walking Dead, which also had five of the top 10 best-selling graphic novels for the year). It could also provide synergy with Jet City Comics and the Kindle, giving both access to the ComiXology publishing platform. Amazon could also use its Kindle platform to further refine the ComiXology’s ‘Comics’ app, which is already available for the Kindle Fire but might enjoy more direct integration in the future.” [Business Insider]
Conventions | The organizers of the Supanova pop culture festival in Melbourne, Australia, triggered a social-media firestorm after removing a comic by artist Scarlette Baccini from her table because of explicit sexual content. The festival has a strict ban on pornography, and other adult material must be kept sealed and away from children. One of the organizers stopped by Baccini’s table, flipped through her Jesus Reloadeth’d, and saw a drawing of two men having sex, so he removed the comic. Baccini posted about the incident on Facebook, triggering accusations of homophobia against the event organizers. However, they responded that the issue was the explicitness of the image, not that it depicted two men. [SameSame]
Auctions | A rare copy of The Beano #1 from July 1938 — only about 25 copies are believed to exist — is being auctioned on eBay by Seaford, England, dealer Phil Shrimpton. With just four days remaining, the opening bid of £3,499 (about $5,875 U.S.) has yet to be met. As you can see on the website, the copy certainly isn’t in the best shape. The issue, which sold a reported 442,963 copies when it was released, introduced such characters as original cover star Big Eggo the ostrich, Lord Snooty, Wee Peem and Ping the Elastic Man (the racist caricature in the magazine’s logo is Little Peanut, who stuck around on the cover until 1947, when he was replaced by Big Eggo). “Every year or so another one seems to emerge – often found in someone’s attic,” Shrimpton says. “People didn’t really look at comics as collector’s items until the sixties and seventies, so lots of them got destroyed. Also a lot of the comics were destroyed during the war as people were more conscious about recycling the old issues.” [The Argus]
“No idea has proven more damaging to the comics industry than the myth that its professionals — not just creators, but retailers, even distributors — work for love and not money. It’s a philosophy that has justified exploitation of creators and theft of intellectual property. It’s allowed the entire industry to pass the buck for its failures — from publishers to retailers, and retailers to — for decades. And it’s why the comics industry lingers in a frozen adolescence, clinging to a shrinking target audience like a sea captain railing at the storm — when the real problem is the rotting wood of his own hull.”
– Rachel Edidin, former Dark Horse editor turned freelance writer and editor, addressing reactions to Amazon’s announced purchase of comiXology for Wired.com
Digital comics | In today’s Amazon-acquires-comiXology article, Rachel Edidin deflates much of the hype, and the panic, surrounding the deal, pointing out that comics distribution is already a monopoly, large corporations already run the comics market, and comics have been available on Kindle all along: “Is the concern […] a distribution monopoly? If so, the direct market is in no position to criticize: over the last 15 years, Diamond Comics Distributors has consumed almost all independent print distribution in comics, and dictates practices and policy to retailers and publishers alike. The idea that print comics are somehow more independent than their digital cousins — or a scrappy underdog fighting the good fight against evil corporate profiteers — is frankly ridiculous.” [Wired]
Awards | Michael Cavna talks with Kevin Siers of the Charlotte Observer about winning the Pulitzer Prize in cartooning. [Comic Riffs]
Digital comics | Jeff Gomez examines the implications of Amazon’s planned acquisition of comiXology, opining that it will give comics a wider reach but also force publishers of superhero fare to broaden their appeal beyond the core demographic: “The books will now be exposed to millions of newcomers, so it will behoove major publishers to make their stories more female-friendly, streamlined, and accessible. With comiXology’s new aim to make ‘every person on the planet a comics fan,’ publishers will need to consider new genres, greater variety, and more varied age groups.” [Business Insider]
Digital comics | ComiXology will continue to offer its Digital Storefronts for retailers, and it will not allow Amazon to target users of its Pull List service with its own offers, according to spokesman Chip Mosher. Also, no changes are planned to comiXology’s other retailer tools. [ICv2]
Welcome to Best of 7, where we talk about “The best in comics from the last seven days” — which could be anything from an exciting piece of news to a cool publisher’s announcement to an awesome comic that came out. So get ready to fly really, really fast as we reverse the Earth’s orbit and head back for a look at the last seven days in comics …
In case you missed it, Amazon announced last Thursday their intent to buy the popular digital comics provider comiXology. The deal is expected to close in the second quarter of this year, and terms were not disclosed.
Maybe this explains why my Prime membership went up in price? OK, probably not. But this is a major shift for the industry, as the biggest seller of digital comics will be owned by a mega Internet company. It’s really too soon to know exactly what this will all mean, but here are a few thoughts I’ve had after shifting through the announcement and some of the reactions to it.
Dark Horse Comics is the highest-profile publisher whose digital releases are not available on comiXology, opting instead to use their own platform, Dark Horse Digital. Following Thursday’s news that Amazon has reached an agreement to purchase comiXology for an undisclosed amount, ROBOT 6 reached out to Dark Horse president and founder Mike Richardson for his thoughts on the matter:
“Companies outside our industry have been paying increasing attention to comics in recent years. New technology has offered a variety of new opportunities in both content creation and content delivery. It is not surprising that Amazon and Comixology would come together considering this environment. The comics industry, despite periods of lull, has always been an evolving and changing business, and this move is consistent with that history.”
To mark the digital debut of Peter Bagge’s Hate and Dame Darcy’s Meat Cake, Fantagraphics Books and comiXology are offering the first issues of both series for free for a limited time.
First published in 1990, Hate chronicles the life of Bagge’s longtime protagonist Buddy Bradley, a malcontent who comes of age in the Seattle grunge scene before moving back to suburban New Jersey and his dysfunctional family. One of the bestselling alternative comics of the ’90s, Hate ran for 30 issues; Bagge resurrected the title in 2000 for a series of Hate Annuals. A Hate follow-up, Buddy Buys a Dump, is planned for release in June.
Published by Fantagraphics since 1993, Darcy’s Meat Cake delves into a neo-Victorian world of humor, romance and frequently tragic fairy tales featuring such characters as Effluvia the Mermaid, the roguish roué Wax Wolf, Igpay the Pig-Latin pig and Stregapez, who speaks by dispensing Pez-like tablets through a hole in her throat.
“Debuting Hate and Meat Cake digitally on comiXology marks a new era for these historic Fantagraphics titles,” Fantagraphics Associate Publisher Eric Reynolds said in a statement. “Although the trade paperbacks collecting these works are perennial classics, this marks the first time that the single issues of these generation-defining classics have been widely available in well over a decade. Now with comiXology’s help, readers around the world will be able to experience them anew and discover just what makes these books so timelessly great.”