digital comics Archives - Page 2 of 78 - Robot 6 @ Comic Book Resources
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.
If you’ve wanted to explore Marvel’s massive digital archive, now’s your chance: For the next week, in celebration of Comic-Con International, 99 cents will get you a month-long subscription to Marvel Unlimited and its online collection of more than 15,000 classic and newer comics, dating from the Golden Age to about six months ago.
The publisher offered a similar deal in March for South by Southwest; a monthly membership normally costs $9.99, while a basic annual subscription is $69.
I’ve never been to a comics convention, but I can imagine it can be overwhelming — Comic-Con International especially, with its enormous exhibition hall, packed programming schedule and multiple venues. There’s a webcomics presence, but it remains something of a niche. A quick scan of events, for example, turns up more presentations on how to become big on deviantART than anything directly connected with webcomics.
There’s a powerfully strong digital comics representation, however. Perhaps this indicates a swing from the independent, comic strip-influenced world of webcomics to the formalized, floppy-inspired format of digital. Shoot, Publishers Weekly even arranged a panel to discuss that very thing on Friday morning with “Behind the Digital Line.” Mark Waid has an entire panel devoted to pitching ideas to Thrillbent. Monkeybrain Comics will have a roundtable about the benefits of publishing digitally. And on Sunday, “Digital Comics: Going Beyond the Page” will feature a discussion with a panel that includes Waid (Thrillbent) and Ron Perraza (formerly of comiXology and DC’s digital division).
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.
Legal | A South Korea court has ruled an exhibition devoted to One Piece can be held as planned after it was abruptly canceled earlier this month following allegations that Eiichiro Oda’s popular pirate manga contains images that resemble the Rising Sun flag, considered a symbol of Japanese imperialism in South Korea. The company staging the One Piece show, which includes life-sized statues, rare figures and Oda’s sketches, asked the court to step in after the War Memorial of Korea in Seoul pulled the plug on the event just days before its scheduled July 12 opening. The court found that One Piece can’t be considered to “[hail] Japanese imperialism” simply because it depicts a flag reminiscent of the Rising Sun; and even if those images are of the Rising Sun flag, it’s mainly shown in a negative light. [The Asahi Shimbun]
Conventions | An advocate for the homeless claims San Diego police are harassing homeless people to keep them away from downtown during Comic-Con International. The mayor and police chief deny the accusation and say officers are simply doing outreach, but at least one homeless man has been given a “stay away” order. Comic-Con begins Wednesday with Preview Night. [ABC 10 News]
Digital comics | Following the news that the comics market was estimated at $850 million in 2013, of which $90 million was digital, George Gene Gustines looks at a couple of different digital models, including Thrillbent’s new subscription service and Panel Syndicate, Brian K. Vaughan and Marcos Martin’s name-your-own-price approach. [The New York Times]
One upon a time, an entire subcontinent crashed into the largest continent. Tectonic plates collided, sending rocks jutting toward the heavens. Jagged peaks formed formed the Himalayas, and looming higher than any other was Everest. Sir Edmund Hilary famously journeyed to the top of the world, a feat that inspired generations of explorers to believe that no place on Earth is unconquerable. But they’re not always right, for on its icy, windswept cliffs, many an intrepid soul has succumbed to its perils. Everest is a mountain of madness. It’s a mountain … of death.
Christopher Sebela and Ibrahim Moustafa’s Eisner-nominated comic High Crimes (Monkeybrain) follows the thrilling, high-stakes adventure of a lost soul named Suzanne “Zan” Jansen. She was an avid snowboarder until her Olympic dreams were cruelly crushed by an injury. Haunted by failure, her days are spent in an unbreakable cycle of drinking and self-loathing. She ends up involved in a sordid occupation: finding the missing bodies of those who disappeared on climbing expeditions. The dirty work is done by her grizzled, older business partner Haskell, who chops a hand off the dead, then returns to base to have it stored in his freezer. The fingerprints are traced by a corrupt police officer, and the identity lets them know which families to bribe.
One day, Haskell is dealt a bad hand. Literally. It belongs to a decades-old corpse who used to be Sebastian Mars. He’s not just a climber; he’s a person of interest. Inside the severed hand, Zan discovers a capsule containing a rolled-up microfiche of secrets. It turns out that it’s something like the Maltese Falcon: the stuff that dreams are made of, and a thing of extreme value to the wrong kinds of people.
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.
Quantum and Woody leads the final ballot for the 2014 Harvey Awards with nominations in six categories, including best new series, edging out Hawkeye with five and Saga with four. Quantum and Woody‘s James Asmus also received nods for best writer, most promising new talent and the special award for humor.
Named in honor of the late Harvey Kurtzman, the cartoonist and founding editor of MAD magazine, the awards are selected entirely by creators. Online voting is open now through Aug. 18. The winners will be presented Sept. 6 in a ceremony held in conjunction with Baltimore Comic-Con.
The full list of nominees can be found below:
James Asmus, QUANTUM AND WOODY, Valiant Entertainment
Matt Fraction, HAWKEYE, Marvel Comics
Matt Kindt, MIND MGMT, Dark Horse Comics
Brian K. Vaughan, SAGA, Image Comics
Mark Waid, DAREDEVIL, Marvel Comics
Publishing | The latest BookScan numbers reveal June was a good month for manga in bookstores, with eight volumes of Attack on Titan making the top 20 — a new record. The first volume topped the list, which means new readers are still discovering Hajime Isayama’s dark fantasy. Overall, manga had a slight edge, with 11 titles, and all three volumes of Saga were on the list, but only one volume of The Walking Dead. And despite the Amazon-Hachette battle, the Yen Press title Sword Art Online: Aincrad made the chart. [ICv2]
Publishing | ICv2 and Comichron’s John Jackson Miller joined forces to calculate the size of the entire comics market, including the direct market, bookstore and digital channels, and both single issues and graphic novels. Inevitably some things get left out, such as subscription services, sales to libraries and the juggernaut that is the Scholastic Book Fair, but it’s a good snapshot. The bottom line: $850 million in 2013. [Comichron]
Warren Ellis and Michael Allred have collaborated on a graphic novel, but it’s not likely one you expected.
The two were hired to tell the story of Bacardi, dating back to the company’s founding in 1862 in Cuba, in a graphic novel called The Spirit of Bacardi. It will be available for digital download on Aug. 6.
The Eisner Awards, arguably the most prestigious in the comics industry, will be presented July 25 during Comic-Con International. Among the assortment of awards given to artists, writers and colorists, there’s an odd little thing that’s a relative newcomer: the Best Digital Comic Award. Here’s the criteria: “The best digital comic category is open to any new, professionally produced long-form original comics work posted online in 2012.” They have to have a unique domain name, and they have to be “online-exclusive for a significant period” before being available in print.
Rather odd, considering that many of this year’s nominees barely qualify under those parameters. A “long-form comic” suggests an extended, dramatic story. The Oatmeal doesn’t really qualify (unless you consider the bid for a Tesla museum to be a real-life epic). High Crimes technically has a domain name, but it directs you to comiXology for digital download. It’s all part of the challenge in determining what, exactly, a “digital comic” is. Looking at previous nominees, there are several that don’t fit neatly within the rules.
Comic book awards. You can’t live with them, you can’t live without them. On the one hand, there are several challenges to clear. Who’s worthy of nomination? If it’s “Best Digital Comic,” what are you awarding it for — the way it takes advantage of its online environment, or the content? Generally, it’s the content, but if that’s the case, shouldn’t it be competing in the existing comic categories rather than be banished to the sidelines? (Several webcomics, including The Adventures of Superhero Girl, have been in contention in other categories … but only after their digital content has been converted in the traditional currency of ink and pressed wood pulp, as God intended.)
There’s been some criticism that the Eisner Award for Digital Comics tends to favor established creators from the print industry over those who made their names online. Or, in the case of Sugarshock … c’mon. Did you really think Joss Whedon wasn’t winning an award? You’d probably be struck down by lightning or something. (Incidentally, I tried to see whehter that comic was still online. I’d forgotten that it was on MySpace. Oh, man … the nostalgia.)
However, I think that, by and large, the winners have all been very good.
Karl Kerschl’s The Abominable Charles Christopher was one of the webcomics that made a splash among readers before it attracted award attention (a Joe Shuster Award in 2010, an Eisner Award nomination in 2010, and a very deserved Eisner win in 2011). What made The Abominable Charles Christopher stand out from the pack?
Hawkeye and its writer Matt Fraction and Saga and its artist Fiona Staples led the inaugural True Believers Comic Awards, winning in a combined 10 categories. Hawkeye colorist Matt Hollingsworth also won in his division.
Presented Saturday in conjunction with London Film and Comic Con, the True Believers Comic Awards are a successor to the long-running Eagle Awards. Established by Eagle co-founder Mike Conroy and his daughter Cassandra, the awards were selected through online nominations and voting.
IDW Publishing was voted Best Publisher, while Gail Simone was named to the Roll of Honor. Comic Book Resources was selected as Favorite Comics-Related Website. The full list of winners can be found below in bold.
Comic-Con International organizers have rolled out the programming schedule for Friday, July 25, the second full day of the show.
And what a full day it is, with comics adaptations like AMC’s The Walking Dead, The CW’s Arrow and iZombie, and ABC’s Marvel’s Agents of S.H.I.E.L.D. and Agent Carter all taking the stage. However, that’s not to say actual comic books are being slighted: There are panels devoted to Image Comics, DC Comics’ Batman, The Multiversity and more, Marvel’s Spider-Verse and The Avengers, Top Shelf Productions, IDW Publishing’s 15th anniversary and its Hasbro titles, Milestone at 21, gender in comics, LGBT comics for young readers and the (gulp) 30th anniversary of Power Pack.
Plenty of creators step into the spotlight, too, with panels dedicated to the likes of Neal Adams, Mark Brooks, Francesco Francavilla, Jae Lee, Mike Mignola, Terry Moore, Fiona Staples and Brian K. Vaughan. To top it all off, there’s the Eisner Awards ceremony.
Check out some of the comics-related highlights below, and visit the Comic-Con website for the full schedule.