GIANT-SIZE X-POSITION: Lemire Launches "Extraordinary X-Men" - Part 2
Happy Mother’s Day and welcome to What Are You Reading?, our weekly look at the comics, books and what have you we’ve been checking out lately. Joining us today is Allison Baker, co-publisher of Bandette, Edison Rex and all the other Monkeybrain Comics you can find on comiXology.
To see what Allison and the Robot 6 crew have been reading, click below.
The Toronto Comic Arts Festival celebrates its 10th birthday this weekend with a truly stellar lineup of guests and an amazing array of events. The list of creators who will be there is impressive in both its quality and its breadth: Art Spiegelman and Francoise Mouly, Gilbert and Jaime Hernandez, David B., Taiyo Matsumoto, Rutu Modan, Frederik Peeters, Paul Pope, Bryan Lee O’Malley, Hope Larson, Faith Erin Hicks, Derf Backderf, Raina Telgemeier, Dave Roman, a roll call that goes from living legends to plucky creators making their own comics zines by hand.
Conventions | Last week’s Chicago Comic & Entertainment Expo drew 53,000 attendees, the largest crowd yet for the Chicago-based show, which is in its fourth year. Reed Exhibitions Group Vice President Lance Fensterman talks about the high points of the show and plans for the next couple of years. [ICv2]
Graphic novels | Heidi MacDonald tracks the rise in popularity of graphic novels among librarians, whose support has been integral to the growth of the industry. Her well-researched article includes interviews with public librarians, school librarians, and academic librarians, as well as publishers and others in the field. It’s a comprehensive overview of one of the most important, and least reported-on, areas of our world. [Publishers Weekly]
Comics | Alex Hern looks at three comics that have long been out of print but are now back, or possibly on their way back: Flex Mentallo, Marvelman and Zenith. [The New Statesman]
Conventions | The University of Calgary’s student newspaper looks at the rapid growth of the Calgary Comic & Entertainment Expo, and the problems that go with it: Last year, ticket holders had to be turned away because the event was over capacity. “Last year it was really a shame that people had so much trouble,” says Lyndsay Peters, owner of Dragon Chow Dice Bags. “We saw a lot of frustrated customers and we talked to a lot of frustrated people. I know there are some people who won’t be coming back this year. But everything we have been told as vendors and everything that has been communicated to us shows that they are taking it very seriously this year.” This year’s convention will be held April 26-28. [The Gauntlet]
Awards | The jury has been announced for the Doug Wright Awards. [Doug Wright Awards Blog]
Since its launch in 2006, First Second has built a solid reputation as a publisher of high-quality graphic novels: Gene Luen Yang’s American Born Chinese, Emmanuel Guibert’s The Photographer, Mark Siegel’s Sailor Twain, and Jorge Aguirre and Rafael Rosado’s Giants Beware testify to both the breadth and the quality of the company’s line.
I was offered the opportunity to interview editor Calista Brill and designer Colleen AF Venable about the past year at First Second and what we can expect in 2013, but I couldn’t resist the temptation to sneak in some questions about the nuts and bolts of working with creators and editing graphic novels.
Awards | Dan Perkins, better known to his readers as Tom Tomorrow, is the winner of this year’s Herblock Prize for excellence in editorial cartooning. Panelist Matt Bors cited his “consistently hilarious takedowns of women-bashers, gun culture and the president’s abuse of executive power.” The finalist was Sacramento Bee editorial cartoonist Jack Ohman. The award includes cash prizes of $15,000 (after taxes!) for the winner and $5,000 for the finalist. [The Daily Cartoonist]
Publishing | Dark Horse founder Mike Richardson explains how the company develops licensed properties, specifically “expanded universes” that build on the world of a movie or video game: “So we came up with the idea that we could approach these licensed properties as sequels, particularly in the early days when we focused primarily on film. We’d sit down like fanboys and say ‘Okay, that was great, what can we do next?'” [Forbes]
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a splurge item.
If I had $15, I’d be tempted to blow it all on the recolored Death of Superman collection for the ’90s nostalgia. But then I’d probably flip through it and come to my senses, and instead get something new like Fatale #12 ($3.50) by Ed Brubaker and Sean Phillips, which looks like it’s going to be a trip, flashing back to Medieval times but self-contained as a good entry point for new readers. That’s smart comics. Speaking of smarty-pants, I’d probably get The Manhattan Projects #9 ($3.50) by Jonathan Hickman and Nick Pitarra. It’s the first part of a two-part story about scientists trying to take over the world. There will probably be lots of words that leave me dizzy. I likely wouldn’t be able to resist Matt Wagner writing The Shadow: Year One #1 ($3.99) because, you know, The Shadow knows. I haven’t been following IDW’s G.I. Joe universe but G.I. Joe #1 ($3.99) by Fred Van Lente and Steve Kurth seems like a good opportunity to try it out. And I’d finish it off with Cyber Force #3 by Marc Silvestri and Koi Pham because it’s free.
With $30, I would add to the above. Darkhawk is on the cover of Avengers Arena #4 ($2.99) by Dennis Hopeless and Alessandro Vitti, so I’d be compelled to buy that. I’ve been meaning to check out Erik Burnham and Dan Schoening’s Ghostbusters since I hear it’s real fun, so the relaunched Ghostbusters #1 ($3.99) is a perfect opportunity. Morning Glories #24 ($2.99) by Nick Spencer and Joe Eisma seems too intriguing to pass up. I am so behind on the X-books, but I’d be real tempted to try Brian Michael Bendis and Chris Bachalo’s Uncanny X-Men #1 ($3.99).
My splurge item would be tough. I’d be real tempted to get either the Iron Man Omnibus collecting the entire run of David Michelinie, Bob Layton and John Romita Jr., including the famous alcoholism story, or Counter X: Generation X – Four Days by Brian Wood. But I’d probably end up instead getting the Daredevil By Mark Waid, Vol. 1 hardcover for $35. I don’t know, do I need to justify this purchase? It’s probably the most beloved superhero comic of last year, maybe for the last couple of years. It paved the way for similarly rejuvenating series at Marvel like Hawkeye, Captain Marvel, and Young Avengers. The art by Paolo Rivera and Marcos Martin is swoon-worthy. And it wants to be on my bookshelf, dagnabbit!
Thirty-six questions. Six answers. One random number generator. Welcome to Robot Roulette, where creators roll the virtual dice and answer our questions about their lives, careers, interests and more.
Today Faith Erin Hicks steps up to the wheel. You know her from such works as Friends with Boys, Brain Camp, The Adventures of Superhero Girl, Zombies Calling and The War at Ellesmere, as well as the upcoming The Last of Us and Nothing Can Possibly Go Wrong. Check out her website for more information.
Now let’s get to it …
“Good editors are your partners in making good comics. They are on your side. They are the trained second pair of eyes who look at your stories without the baggage you bring to them (sometimes, sadly, artists can get too close to the comic they’ve been working on for years, and not see the occasional story snarl or character breakdown), and challenge you to make your comic the best it can be. They point out when a comic panel doesn’t read properly, when a character looks off-model, and sometimes they’ll even give you notes like ‘this looks awesome!!!’ with little hearts drawn in the margins. Good editors are worth their weight in gold.”
— Faith Erin Hicks, on why she prefers to work with an editor
Of course, I’m biased because I was an editor before I was a writer, but I think Faith hits the nail on the head here. Everything is improved by a second set of eyes. The whole piece is worth reading, because Faith talks about the sort of discussions she has with her editor and what she is and isn’t willing to change.
First Second sent out its latest catalog earlier this week, highlighting all the graphic novels it will release next spring. The bad news is, there’s still no Battling Boy on the schedule, nor do the Box Brown Andre the Giant or as-yet-unrevealed Becky Cloonan books appear. But the good news is there are projects featuring the likes of Faith Erin Hicks, Matt Kindt, Steven T. Seagle and Teddy Kristiansen, Dave Roman and many more.
Here’s the rundown:
Odd Duck, by Cecil Castellucci and Sara Varon. “A heartwarming tale of the perils and pleasures of friendship featuring two ducks who are both a bit odd.” Varon has done several graphic novels for First Second, including Bake Sale and Robot Dreams, while Castellucci wrote the Plain Janes books for DC’s Minx line, as well as several Young Adult novels.
Primates, by Jim Ottaviani and Maris Wicks. A new science book from Jim Ottaviani, the author of thwe well-received Feynman, “with Jane Goodall, Dian Fossey, Biruté Galdikas and all sorts of primates.” Wicks, meanwhile, has a fun blog where you can check out her work, which includes several kids titles like Spongebob and Adventure Time.
Comics | The editor-in-chief of the Boston Phoenix denies accusations that the alternative weekly canceled Karl Stevens‘ satirical comic Failure because advertiser Anheuser-Busch was offended by last week’s strip, which referred to Bud Light as “diluted horse piss.” Stevens, whose comic has appeared on ThePhoenix.com since 2009, claims he was told by the art director that Failure was being canceled specifically because of the Bud Light jab. “Apparently I offended Bud Light, and cannot be trusted,” Steven told Publishers Weekly. However, Editor-in-Chief Carly Carioli called the accusation “categorically false,” insisting Failure was canceled because it no longer fit The Phoenix, which has changed from a weekly newspaper to a weekly magazine. “It is categorically false that Karl’s strip was discontinued due to any outside objections. As the Phoenix’s editor in chief, it was my sole decision to discontinue Failure,” Carioli told The Boston Globe. “There were no sponsor objections — zero — to this strip or any other that I’m aware of.” [Publishers Weekly, The Boston Globe]
The Canadian cartoonists who just completed a successful Indiegogo campaign to publish their homegrown superhero anthology True Patriot are back, but this time they aren’t in it for themselves: They’ve just launched a second Indiegogo campaign to raise funds for the Red Cross.
As the text on the Indiegogo page explains:
Comics | Scottish publisher DC Thomson has asked Dundee City Council to rename a street in the city’s west end to honor the Bash Street Kids, stars of the long-running comic strip in The Beano. An unnamed street adjacent to 142/144 West Marketgait would be called Bash Street as part of the celebration of the magazine’s 75th anniversary. [LocalGov]
Retailing | North Hollywood will get a new comics shop on Nov. 10, when Blastoff Comics opens its doors. Owner Jud Meyers seems to think it is an essential part of a hip neighborhood: “They want restaurants, they want bars, they want supermarkets, they want gyms. What didn’t they have? They don’t have a comic book store, every neighborhood has got to have a comic book store.” The opening will feature an assortment of comics guests, including Mark Waid, Greg Hurwitz, and Jim Kreuger, whose The High Cost of Happily Ever After will premiere at the event. [Patch.com]
While I was enjoying my time at APE up in San Francisco, the New York Comic Con was raging on with announcements and such. Before I get into a rundown of the comic-related news coming out of the East Coast today, let’s jump back to yesterday real quick so I can update one of the items from my Friday round-up. I mentioned that Dark Horse would publish a comic based on the upcoming video game The Last of Us, but I didn’t know at the time the most important part — the always awesome Faith Erin Hicks is co-writing AND drawing the comic. That’s a “Stop the presses” moment if I’ve ever seen one.
Ok, now on to Saturday …
• Apparently space is the place at NYCC … following DC’s announcement of Threshold yesterday, Marvel officially announced the return of two of their cosmic titles — Guardians of the Galaxy and Nova. Guardians, written by Brian Michael Bendis with art by Steve McNiven, comes out in February and apparently will feature Iron Man, or at least someone in his armor. Jeph Loeb and Ed McGuinness are the creative team for Nova, which features Sam Alexander, the Nova from Avengers vs. X-Men.
Even at this advanced point in the decades-long flowering of the graphic novel, both in public esteem and in mainstream publishers’ plans, David Nytra’s The Secret of the Stone Frog stands out as a remarkable book, one that accomplishes something I don’t remember seeing any other similar work manage.
It’s from Toon Books, editor Francoise Mouly’s imprint of Candlewick Press, which for years now has been producing superior, hardcover kids’ comics for readers of various ages. And at 77 pages, it’s the first to be explicitly labeled a graphic novel.
The story is a traditional one of two children, brother and sister, the latter of whom is on the cusp of adolescence — their parents think Leah is now old enough to get her own room, rather than sharing one with her younger brother Alan — and one night when they go to sleep, they awake in a world that’s similar to the one they know, but with familiar aspects exploded in fantastical directions. The setting, or settings, suggest Victorian England, and Nytra’s artwork suggests classic children’s literature from in and around the same period.
His elaborate and detailed black-and-white art, drawn with a crowquill pen and india ink, resembles that of John Tenniel’s illustrations for Alice’s Adventures in Wonderland and Pauline Baynes’ for C.S. Lewis’ The Chronicles of Narnia series; although the fine line work and classic-looking subject matter may also suggest to you E.H. Shepard’s illustrations for A.A. Milne’s Pooh books, or Beatrix Potter’s drawings for her many animal tales, or the full-page illustrations that appear in the various Andrew Lang colored fairy books.