George Lucas is partnering with Nerdist Industries for “Course of the Force,” a 136-mile lightsaber relay beginning July 7 in Santa Monica and ending July 11 at Comic-Con International in San Diego to raise money for the Make-A-Wish Foundation. It will be officially announced tonight on NBC’s Late Night With Jimmy Fallon.

The brainchild of Nerdist’s Peter Levin and Chris Hardwick, Variety reports the Star Wars-themed event will feature 500 participants walking or running quarter-mile legs, passing a Lucasfilm-produced “Course of the Force” lightsaber rather than the traditional torch or baton. Octagon and Machinima are co-producing the relay.

Participants are encouraged to come dressed in their best Star Wars or pop culture-themed running gear — Drew Carey and Jim Gaffigan have already committed to wearing costumes — for a chance to win prizes along the route. The conclusion of the relay in San Diego in the hours before Comic-Con’s Preview Night will be marked by a party and live podcast at the Balboa Theater.

All proceeds, generated through sponsorships, will benefit the Make-A-Wish Foundation. For more information, or to register for the relay, visit the “Course of the Force” website.

Lightsaber Run to Debut Leading up to San Diego Comic-Con International
Course of the Force run/walk from Santa Monica to San Diego will benefit the Make-A-Wish Foundation

SAN FRANCISCO (FEB. 9, 2012) – Star WarsTM fans will have a chance to channel their Force of good-will while raising a lightsaber, an elegant symbol of hope, in an epic journey worthy of the Jedi Knights.

Lucasfilm Ltd., Nerdist Industries, Octagon and Machinima have teamed up to present Course of the Force, an Olympic-style lightsaber relay held July 7-11, where participants will make a journey from Santa Monica to San Diego while benefiting a worthy cause. At quarter-mile markers (much less than 12 parsecs), participants will hand off the official Course of the Force lightsaber to the next runner as they begin their leg of the journey. Course of the Force will take place in the days leading up to the annual San Diego Comic-Con International, July 12-15.

On top of creating an event for Star Wars enthusiasts to celebrate and embrace their love of the Saga, Course of the Force will benefit the Make-A-Wish Foundation. Fans will have the opportunity to participate in the historic lightsaber relay through various promotions and online calls to action.

Participants in the relay are encouraged to come decked out in their best Star Wars or pop culture-themed running gear, not only to look good but also to win prizes. Ancient Jedi Masters carried within backpacks are not required.

“The Course of the Force lightsaber run is a great cause that combines fitness with helping others, principles that aspiring Jedi Knights can embrace. We have long supported the Make-A-Wish Foundation, and this is a great opportunity to raise funds and awareness while letting Star Wars fans celebrate their favorite saga,” said Kayleen Walters, Sr. Director of Marketing for Lucasfilm.

Giving the event a true fan’s touch, Nerdist Industries’ founder Chris Hardwick and co-hosts will follow the action from the Course of the Force lead vehicle each day, broadcasting live to the Nerdist platform, including its YouTube channel, youtube.com/nerdist. Machinima, the dominant video entertainment network for gamers around the world, will provide extensive coverage and promotion of the event through its multi-channel video network.

As the Course makes its stops along the iconic California coast, Star Wars-themed parties, contests and live Nerdist shows will cap off each day for fans to enjoy. Participants will receive a customized Hasbro Star Wars Ultimate FX lightsaber, along with other gifts celebrating the Force and Comic-Con.

“We aim to build on the excitement leading up to San Diego Comic-Con International, to raise awareness for the wonderful Make-A-Wish Foundation and to ensure that Course of the Force becomes an evergreen part of the pop culture lexicon,” said Nerdist Industries’ principal and Course of the Force creator and executive director Peter Levin. “Partnering with Lucasfilm, Octagon and Machinima creates a trilogy of cachet, profile and execution expertise. As a wise green man might say, ‘succeed we will, for a good cause’.”

Screenwriter Max Landis, whose found-footage superpowers movie Chronicle topped the weekend box office, has released an entertaining 17-minute rant about, and recreation of, the death and return of Superman, featuring appearances by Elijah Wood and Mandy Moore, among others. The original version apparently was 45 minutes long, so what we get here are the highlights — along with a sly plug for Chronicle.

The writer, who’s penning Dr. Manhattan and Nite Owl for the sprawling prequel to the acclaimed 1986 miniseries by Alan Moore and Dave Gibbons, drew some criticism yesterday when he told Comic Book Resources, “A lot of folks feel that these characters shouldn’t be touched by anyone other than Alan, and while that’s absolutely understandable on an emotional level, it’s deeply flawed on a logical level. Based on durability and recognition, one could make the argument that Superman is the greatest comics character ever created. But neither Alan nor anyone else has ever suggested that no one other than Shuster and Siegel should ever be allowed to write Superman. Alan didn’t pass on being brought on to write Swamp Thing, a seminal comics character created by Len Wein, and he did a terrific job. He didn’t say ‘No, no, I can’t, that’s Len’s character.’ Nor should he have.”

That of course led more than a few people to ask how Straczynski, who created the 1990s space opera Babylon 5, would feel if someone else were to develop a sequel, or prequel — “Babylon 4″? — to the television series (a revival has been long hoped for by fans, but the writer denied rumors as recently as August that he’s in negotiations with Warner Bros.). To answer the question, which he characterizes as “How would you feel if Babylon 5 was being done without your permission?,” Straczynski took to his Facebook page last night, writing, “It’s a fair question, and it needs to be fairly answered … but it has to be an honest comparison, apples to apples, not apples to pomegranates.”

“First, we have to take the word ‘permission’ off the table. Warner Bros. owns Babylon 5 lock, stock and phased-plasma guns, just as DC owns the Watchmen characters. [...] But I get that we’re talking about the emotional aspect of all this, not the legal stuff, which is pretty cut and dry,” he wrote. “So again: apples to apples. How would I feel if Babylon 5 were being made and I were shut out of anything to do with it, despite my desire to be involved? I’d feel pretty crummy about it. But as it happens, that has absolutely nothing to do with this situation in any way, manner, shape or form.”

Referring to repeated unsuccessful attempts by DC to convince Moore to revisit Watchmen — the most recent was in 2010, when the publisher offered to relinquish the rights to the comic if the writer “would agree to some dopey prequels and sequels” — Straczynski said, “He declined at every point. Fair enough. It’s his choice, and it’s his right to make it.”

“So now – apples to apples – let’s make the B5 comparison,” he continued. “Let’s say Warner Bros. came to me and said, ‘we want to do more Babylon 5, and we want you to run the whole thing. We’ll pay you anything you want, give you a proper budget, and you will have complete creative freedom.’ [...] So let’s say that Warners makes that offer, and I said, ‘No, I don’t want it, take your accursed money, your big budget and your complete creative freedom and begone, get thee behind me Satan!’ Let’s say they came back and said ‘Okay, then how about we pay you vast sums of money just to consult? How about that?’ [...] ‘What if we sweeten the deal? What if we offer to give you full ownership of Babylon 5, legally and contractually, so you own it? How about that?’

“If Warners offered me creative freedom, money and a budget to do the show the way I wanted, up to and including my completely owning the show, and I said no to that deal, and if after Warners waited TWENTY FIVE YEARS for me to change my mind they finally decided to go ahead and make B5 without me … then I would have absolutely zero right to complain about it,” Straczynski wrote. “Because it was my choice to remove myself from the process, it wasn’t something foisted upon me by anybody else.”

He went on to address other related topics, such as the supposed “sacredness” and one-off nature of the characters, before concluding this morning in a separate post that, “At this point, quite honestly the work needs to stand on its own. So with equal appreciation for both the kind words and the hard questions, and having said pretty much everything I can think of to say on the subject, I think it’s appropriate for me to recede a bit now into the shadows. As the books come out I hope that everyone who spoke out here, pro and con, will reconvene to continue the conversation and express their thoughts with the same clarity and precision they have demonstrated today.”

Here’s a selection of some of the more interesting quotes:

J. Michael Straczynski, who’s working with Adam Hughes on Dr. Manhattan, and Andy and Joe Kubert on Nite Owl: “Ever since Dan DiDio was handed the reins (along with Jim Lee) over at DC, he’s been making bold, innovative moves that might have scared the hell out of anyone else. At a time in the industry when big events tend to be ‘Okay, we had Team A fight Team B last year, so this year we’re gonna have Team B fight team C!’ Dan has chosen to revitalize lines, reinvent worlds and come at Watchmen head-on. It was, I think, about two years ago that he first mentioned that he was considering the idea, and he’s to be commended for fighting to make this happen.”

Brian Azzarello, who’s collaborating with Lee Bermejo on Rorschach, and J.G. Jones on Comedian: “I think the gut reaction is going to be, ‘Why?’  But then when the actual books come out, the answer will be, ‘Oh, that’s why.’ ”

Darwyn Cooke, who’s writing and drawing Minutemen and collaborating with Amanda Conner on Silk Spectre: “The nature of the undertaking is going to polarize a lot of the readership. I think a lot of people will be excited about this and there are a lot of people that will be dead against it. [...] I said no out of hand because I couldn’t think of a story that would measure up to the original — and let’s face it, this material is going to be measured that way — and the other thing is, I frankly didn’t want the attention. This is going to generate a lot of a particular type of attention that’s really not my bag. But what happened is, months after I said no, the story elements all just came into my head one day; it was so exciting to me that, at that exact moment, I started seriously thinking about doing the book.”

Straczynski, again: “A lot of folks feel that these characters shouldn’t be touched by anyone other than Alan, and while that’s absolutely understandable on an emotional level, it’s deeply flawed on a logical level. Based on durability and recognition, one could make the argument that Superman is the greatest comics character ever created. But neither Alan nor anyone else has ever suggested that no one other than Shuster and Siegel should ever be allowed to write Superman. Alan didn’t pass on being brought on to write Swamp Thing, a seminal comics character created by Len Wein, and he did a terrific job. He didn’t say ‘No, no, I can’t, that’s Len’s character.’ Nor should he have.”

Cooke, again: “I’d consider it a masterpiece if it had been able to have found what I would refer to as a hopeful note. … Again, it’s not hard to understand [where Alan was coming from], and that sort of storytelling does have an allure for young people. [But] I think the older you get, the more you look for hope or positive things. Maybe I’m just getting old.”

Original Watchmen editor Len Wein, who’s tackling Ozymandias with Jae Lee, and “Curse of the Crimson Corsair” with John Higgins: “As far as I know there are no plans for more books after this, but 25 years ago there were no plans for these books, so who truly knows? I think reboots are almost mandatory in an industry that has existed for over three-fourths of a century now. The need to inject new blood, new ideas, new approaches, is the only thing that keeps our readers coming back for more.”

“Curse of the Crimson Corsair” artist John Higgins: “The challenge is to make the stories modern and relevant to 2012 and to show what can be done with respect and consideration for the source material that has inspired so many people over the years. By adding to the mythos and not to detract from it. The Watchmen had such an influence on graphic storytelling since it first appeared and is a timeless classic. If we can create a new set of stories that can be enjoyed 25 years on, that would be an achievement and a reward in itself.”

One of many moments This! would like you to remember

I understand the importance of complaining about things that need changing — it’s the stick that gets the donkey pulling the cart in the right direction. I don’t think it’s completely effective on its own, though. In the conversation about women in superhero comics, the carrot is under-utilized, so I appreciate a blog like This Is What Women in Superhero Comics Should Be (aka This!) that points out specific examples of women used well in superhero comics. The cart needs to get moving, but it also needs a direction, and This! offers one.

The blog’s only three days old and has already captured more than 30 great moments for women, from Wonder Woman and Catwoman to Jessica Jones and Jennie Sparks. It’s pretty DC-heavy so far, but it’s taking submissions for moments from all superhero publishers.

While it seemed DC Comics couldn’t wait to get rid of Superman’s trademark trunks, in Malaysia those underpants are still red-hot.

According to New Straits Times, a suburb of Johor Bahru has been overtaken by fliers advertising “Superman’s Underpants,” billed as a cure for male sexual problems — and the residents have had enough.

“For me this could cause a bad influence among the community,” one retiree tells the newspaper. “Superman fans, especially the men, could be duped into spending thousands of ringgit to buy the product with the assumption that they could gain special powers by wearing them.” He goes on to point out that the product claims to enhance sexual abilities, and has nothing to do with Superman — who we’re pretty sure has that area covered.

So what do Superman’s Underpants actually do? Well, they’re equipped with magnets, and are alleged to cure impotency and enhance penis size. According to the product website, there’s also something called an ego ring, which is … pretty much what you imagine it is (and has nothing to do with Green Lantern).

They sell for between $114 and $294, which leads me to think Warner Bros. is missing out on a lucrative market for penis-enhancing magnetic underwear.

(via io9.com)

Valiant Entertainment

Retailing | Former retailer Atom! Freeman, now sales manager for the revived Valiant Entertainment, has set out to contact every comics retailer in the direct market to promote the publisher’s upcoming superhero line. What has he learned? Retailers are divided on the importance of variant covers, and they don’t place a high value on returnability, but they care a lot about timeliness: “I try to ask every retailer I speak with what his or her biggest concern is in dealing with a new publisher. The number one answer I get is timeliness. Retailers want to know that they will have a consistent product shipped on a consistent schedule.” [ICv2]

Retailing | Todd Allen’s survey of readers of The Beat, admittedly a specialized audience, reveals that more than two-thirds use pre-ordering as their primary method of buying comics, although many will pick up a few off the rack as well. [The Beat]

Awards | Paul Register, founder and organizer of the Stan Lee Excelsior Awards, writes about how the awards, which are selected by 11- to 16-year-olds in the U.K., came to be and why they are important: “In a system that rarely studies complete texts and doesn’t overtly place a huge importance on the clear benefits of children reading outside the classroom, comics have become marginalised in schools at a time when their potential for raising literacy standards amongst teenagers has arguably never been greater. The Excelsior Award is an attempt to give children the opportunity to take ownership of their own reading and to feel that reading books that they actually want to read – as opposed to being told to read – is not a waste of time.” [Comics Forum]

Donald Duck: Lost in the Andes

Publishing | Fantagraphics President Gary Groth comments on Matthias Wivel’s review of Carl Barks’ Donald Duck: Lost in the Andes, adding some insight with regard to re-coloring the comics, numbering the volumes, the order of the stories, and the shortcomings of earlier reprint editions. [The Comics Journal]

Digital comics | Webcomics creator R. Stevens used iBooks Author to compile a collected edition of the December Diesel Sweeties comics, and just a week later, he reckons that 10,000 people have downloaded the free e-book. He discusses the pros and cons of the system, as well as distribution (he chose to use Dropbox rather than the iBooks store) and sees it as a serious strategy for the future. [Diesel Sweeties]

Creators | Alex Berry talks to Zegas creator Michael Fiffe about making comics and writing about them: “Well, I’m a cartoonist first and foremost. All the other stuff is just a way of sorting through my own interests and learning curves. The first interview I conducted was based on a personal need to find something out. I had tracked down the cartoonist Trevor Von Eeden and wanted to know what he was up to and how his career developed. You know, basic interview stuff, except it didn’t exist for him, so I sought it out myself. From that, I learned to somewhat voice my own views and approaches to comics.” [Spandexless]

Sugar Falls: A Residential School Story

Creators | David Robertson talks briefly about his graphic novel Sugar Falls: A Residential School Story, which tells the true story of a Native American girl who was sent away to a boarding school and subjected to abuse and discrimination. There is a short preview at the site as well. [CBC Manitoba]

Comics | Ben Morse celebrates the exploits of The Ray, a superhero who didn’t quite make the big time. [The Cool Kids Table]

Comics | Tom Gill takes a long look at the work of Garo manga artist Yoshiharu Tsuge, with particular attention to his classic work The Incident at Nishibeta Village. [The Hooded Utilitarian]

Nearly five months after the debut of DC Comics’ “New 52,” the Washington, D.C., Fox affiliate has taken aim at the “edgy makeover,” zeroing in on the controversial first issues of Catwoman and Red Hood and the Outlaws.

For the Fox report, titled “Relaunched Comics Using Sex and Violence to Sell” on the affiliate’s website, correspondent Sherri Ly turns to child psychologist Neil Bernstein, who characterizes the much-discussed sex scene between Batman and Catwoman as, “sort of like a fictionalized Playboy for kids at its worst.”

He goes on to suggest the comic may pose a danger to young readers, as overexposure to sex and violence could encourage aggression. Yes, really. “I think too many kids would be put in harm’s way or at risk,” he said.

Bernstein also dissects Red Hood and the Outlaws #1, in which Starfire propositions Roy Harper for sex, later saying, “Love has nothing to do with it.” “We want our kids to think sex is an act between two consenting mature individuals who care deeply for one another,” he says. “That doesn’t really come across and it’s too easily to misconstrue things particularly for a kid.”

And to underscore just how dangerous and easily misconstrued the comics are, Ly … went to a local middle school, and showed them to some children. Sherri Ly and Fox 5: putting kids in harm’s way?

While it can be, and certainly has been, argued that those issues of Catwoman and Red Hood and the Outlaws are sexist, misogynistic or just downright bad, or that other comics in the DC relaunch have been gratuitously violent and gory, Fox 5 ratchets the debate to alarmist, Wertham-esque levels.

For further evidence, look no further than the promo for the report, which promised tips on “HOW TO K.O. THESE COMICS BEFORE THEY CORRUPT YOUR KIDS!” It’s that teaser that led the Comic Book Legal Defense Fund to release a retailer advisory on “how to manage a media attack,” which breaks down “how to deal with hostile cameras if they come to your store.”

Avengers Vs. X-Men

“… After several years of super-serious Marvel events, all of which have had some kind of ‘torn from today’s headlines’ subtext to them, I’m actually kind of in the mood for an old-fashioned super-team slugfest. However as a retailer it’s more than a little disappointing. It’s a business as usual kind of move that shows the shallowness of short-term thinking at work that might help Marvel win the summer and us sell some comics. But in the long-term the survival of the entire industry hinges on a publisher’s willingness to appeal to more than its dwindling base.”

– retailer Steve Bennett, of Super-Fly Comics and Games, on Marvel citing its upcoming Avengers Vs. X-Men miniseries as the kind of creativity that will drive the company this year

The Art of Brett Ewins

Creators | Former Judge Dredd artist Brett Ewins suffered serious head injuries Saturday after he allegedly stabbed a police officer who responded to complaints about a man shouting throughout the night. Police say when they arrived the 56-year-old Ewins attacked them with a knife. One of the officers received minor wounds during the struggle, but Ewins was hospitalized, where he remains in serious condition. The newspaper report asserts the artist, best known for his work on Judge Dredd and Rogue Trooper for 2000AD, has a history of mental-health problems. [Ealing Gazette]

Digital | Salon staff writer Andrew Leonard relates his son’s disappointment upon learning that Viz Media was turning Shonen Jump magazine into an online publication: “The older we are the less we like change. But for every grumbling codger who departs this mortal coil there’s a new baby born who seems to know how to do a two-finger swipe on an iPhone touch screen right out of the womb. And yet here was a clear example of a bond with the printed word, the material object, that transcended generational divisions. Eli told me to he wanted me to sign him up for Shonen Jump Alpha, but he didn’t seem enthused by the prospect of reading the latest installments of his favorite manga on the flat screen. If my 14-year-old could be transformed into a crotchety old codger, then maybe, just maybe, the culture really is losing something valuable as everything goes virtual.” [Salon]

Golgo 13, Vol. 1

Creators | The Sankei Shimbun newspaper profiles Takao Saito, the 75-year-old creator of Golgo 13, who reveals he’s planning the ending for his long-running action manga. Golgo 13, which follows the global exploits of an assassin for hire, debuted in November 1968. [Anime News Network]

Creators | Greg Pak discusses his new Aspen Comics/Valhalla Entertainment miniseries Dead Man’s Run. [USA Today]

Creators | Brian Truitt spotlights Guillaume Bianco, whose graphic novel Billy Fog and the Gift of Trouble Sight was recently released in North America by Archaia. [USA Today]

Creators | Texas artist Trent Westbrook talks about the local success of his comic Corpus Christi. [Caller-Times]

If you’re still a little deflated by the absence of Community from NBC’s midseason lineup — it will return … sometime — then this may pick you up: Megan Lara’s adorable Calvin & Hobbes-inspired illustration “Troy and Abed’s Dope Adventures” is available as a T-shirt from RedBubble.

(via Vulture)

As the “Shit _____ Say” juggernaut steams ahead unabated, it should come as no surprise that comic-book fandom — specifically, superhero fandom — gets a turn at the meme. Courtesy of Jawiin, we present the funny and well-produced “Shit Comic Book Nerds Say.”

• Feb. 16 | Seattle | Nectar w/ Klopfenpop, DeathStar
• Feb. 17 | Portland | Mt. Tabor w/ The Doubleclicks
• Feb. 19 | Berkeley | Gilman St.
• Feb. 21 | Los Angeles | The Mint
• Feb. 22| San Diego | Ruby Room w/ Doctor Awkward
• Feb. 23 | Las Vegas | Beauty Bar w/ Dead Neon
• Feb. 24 | Tempe | Stray Cat Lounge w/ MegaRan
• Feb. 26 | Ogden | Mojo’s Music w/ DJ RoboRob

The excellent poster art at right was done by cartoonist Dean Trippe.

The team-up plans to bring along some special guest performers to be announced soon. No word yet whether Lila Cheney will open for them.

Justice League #5 was scheduled for release Jan. 18, according to the Previews catalog as well as the publisher’s own website, but recent information from Diamond Comic Distributors suggests it won’t make that date.

Issue 5 isn’t among the titles the distributor has scheduled to ship Wednesday … or the week after. Robot 6 emailed DC comment and a revised release date, but has yet to receive a response.

Although a late title clearly isn’t unheard of, this one is intriguing for two reasons: first, because it’s the flagship of DC’s “New 52,” and second, because the creators involved, writer Geoff Johns and artist Jim Lee, are also company executives who, at least indirectly, oversee the line editors whose responsibility it is to make sure books ship on time. It’s important to note the reason for the lateness can’t be connected to Johns or Lee; the blame could fall on any step of the production chain.

While DC hasn’t responded to our earlier inquiry, we did find a comment made by Co-Publisher Dan DiDio during the lead-up to New 52 regarding this this potential issue.

“[Timeliness is] more hard-line than in the past for several reasons, and one is that it’s the largest concern we’ve heard from retailers on a continual basis,” he said in an interview with Newsarama. “They’ve been concerned in the past about our inability to put out books on a consistent basis, especially the books that people are looking for.”

DiDio stressed that DC has a “contract with the retailers” and the fans for consistent releases, and admitted that sales have suffered when the publisher released late books in the past.

He specifically guaranteed “100 percent delivery,” which this delayed Justice League #5 would break from, saying, “There’s nothing more frustrating for me or any of the fans, I’m sure, to be excited about something then not be really sure when it’s coming out.”

Update (11:17 a.m. PT): A DC spokesperson responded that Justice League #5 is now scheduled for release on Jan. 25, just one week after its original date. The Diamond’s tentative shipping for Jan. 25 list doesn’t yet reflect that information.

Update (3: 38 p.m. PT): A DC representative has since tweeted: “We can confirm that Justice League #5 from @jimlee and @geoffjohns is indeed hitting shelves next week.”

Update (5:19 p.m. PT): DC has clarified its previous statement, tweeting: “Sorry for the confusion: Justice League 5 will hit shelves on January 25th.”

Aquaman #1

Digital comics | Geoff Johns explains how digital presentation made him re-evaluate his approach to writing Aquaman #1, as digital readers focus on stories panel by panel rather than page by page. He notes that they also spend more time on individual panels, taking in all the details before moving on: “It’s weird to go back and look at some of the old comics now. If you read something in this fashion you will notice stuff that you skipped over so quickly because your eye takes in the whole page instead of the panel individually. I think that’s probably one of the biggest advantages of digital.” Johns also reveals digital considerations have also led him to scale back on internal dialogue to “let the art and characters expressions speak for themselves.” [Variety]

Digital comics | On a related note, Shaun Huston ponders the challenges of making “comics as we know them” work on digital devices: “While there’s some latitude to read full pages on the iPad, and the Fire at 4.7” x 7.5” (or the Nooks) affords that option more realistically than the iPhone or similarly-sized devices, in all of these cases there will be situations where most readers will shift to Guided View in order to effectively see some particular detail on a page. For many, Guided View will be the primary choice, which is a qualitatively different experience than reading page-by-page. In fact, while in that mode, ‘the page’ arguably becomes irrelevant as panels are strung together into one linear sequence, rather than into a series of page-specific sequences.” [PopMatters]

Washington City Paper

Comic strips | Only nine months after returning syndicated comics to its pages, Washington City Paper has again eliminated them amid budget cuts. The alternative newspaper initially dropped comics in February 2009 in a bid to save money following the bankruptcy of parent company Creating Loafing. [DCist]

Publishing | Todd Allen catalogs retailer complaints about Marvel’s apparent long-running inability to keep its collection backlist available. “They’re a publisher that publishes their trade books like they’re periodicals” says says Eric Kirsammer, owner of Chicago Comics. “They don’t really have a backstock. I’ve been told by Marvel they don’t.” [Publishers Weekly]

Best of the year | Steve Higgins counts down the Top 10 graphic novels of 2011, and the best of DC’s New 52 titles. [Playback: STL]

Creators | Alan Corbett discusses his new graphic novel The Ghost of Shandon, set in 18th-century Cork, Ireland. [Cork Independent]

Comics | Houston news outlets make note of the debut of Marvel’s Scarlet Spider, which is set in the city. [Your Houston News, My Fox Houston]

Seeking to ease the online process for purchasing badges, organizers this year are requiring prospective attendees to sign up for a free Comic-Con Member ID that they will use to log into the system once registration actually opens.

Having a Member ID doesn’t ensure your entry into Comic-Con; anyone with a valid and unique email address can get one. However, everyone — attendee, volunteer, professional or press — who intends to purchase or apply for a convention badge must first have a Member ID.

More information can be found on the Comic-Con website. You can sign up for a Member ID here; the video below will walk you through the process.

Justice League #4

Publishing | John Jackson Miller takes apart the December sales numbers and finds that while comics were up for the month, graphic novel sales fell just enough to prevent the direct market from having its first up year since 2008. In fact, trades are down 16 percent from December 2010, and Miller spends some time discussing why that might be — and why next year might be different. [The Comichron]

Publishing | Houghton Mifflin has high hopes for Are You My Mother?, the new graphic novel from Fun Home author Alison Bechdel: The publisher plans a first printing of 100,000 copies. [Publishers Weekly]

Retailing | Diamond’s Retailer Summit will be held the two days before the Chicago Comic & Entertainment Expo, with attendees receiving free admission to the April 13-15 convention. [ICv2]

Saga #1

Creators | Brian K. Vaughan speaks briefly about Saga, his March-debuting collaboration with Fiona Staples that promises “a nice mixture of some bounty hunters, monsters and all sorts of lovely threats.” [USA Today]

Creators | Joe Keatinge (Hell Yeah, Glory) writes about the immutability of Big Two superhero comics and the freedom that independent publishers like Image have to throw dramatic twists into their stories—and make them stick. [Image Comics blog]

Digital | Letterer Todd Klein reads Green Lantern #1 on his iPhone and finds the experience different, but enjoyable. [Todd's Blog]

Graphicly

Digital | HTML5 is in, Windows 7 phones are out: Micah Laaker reviews the past year for digital distribution service Graphicly and hints a bit at what the future may bring. [Graphicly Blog]

Digital | Which platform will survive? Matt Alexander speculates that as tablets get better and cheaper, dedicated e-readers will become a thing of the past. Ironic, no? [The Loop]

Cosplay | Hana, a Muslim anime blogger, discusses the complications of finding characters to cosplay while observing the rules of modest dress: “Clearly, some of you might be wondering what all the fuss was about, and I’m not saying that all Muslim hijab-wearing females are anything as habitually neurotic as I am. However, think of it more as an illustration of how my faith is the filter through which I experience the fandom and everything else. For me, it’s an entire lifestyle that affects everything I do, rather than just being a set of beliefs.” [Beneath the Tangles]

Crowd control at comic conventions can be generally, if not creatively, described as “organized chaos” — emphasis more often that not on the latter — as thousands of fans determined to lay their hands on that special sketch, autograph or issue are poured into narrow entry points like so many grains of sand in an hourglass.

If you’ve attended Comic-Con International or New York Comic Con, or even read the tweets, blog entries and forum posts from those who have, what a delicate, frustrating and, yes, frequently sweaty and smelly dance that crowd flow can be, with one untied shoe, inconsiderate mid-aisle conversation or loud protest over access botching the choreography and sending everything into a horrible, grumbling snarl.

But at Tokyo’s Comiket, the world’s largest self-published comics fair, organizers have transformed crowd control into an artform.

The twice-yearly event, held in August and December, drew more than 500,000 people over three days last week to the Tokyo Big Sight; that breaks down to somewhere around 166,000 people per day. Now witness the time-lapse video below, filmed over the course of 13 hours, showing convention staff masterfully conducting the mass of attendees as it waits for the doors to open.

You can’t see much of anything until the 1:25 mark, but everything after that is pretty incredible. It should be set to music.

(via RocketNews24)

So when whoever posts as Tokyopop asked, “How do you read manga — digitally or as a physical copy? Which do you prefer and why?” I was interested enough to tally up the answers. The responses were almost comically lopsided, with only 18 out of more than 250 commenters preferring digital; some said both, but the vast majority, almost 200, said they liked to read their manga on paper, not pixels.

Of course, what they mean by “digital” is online manga sites, almost all of which are bootleg. People read manga online because it is free and because it’s the only way to read series that haven’t been licensed in English. But they don’t like it very much. Complaints about digital included eyestrain, slow load times, and that you can’t keep the manga or take it with you. Many commenters simply said they liked the feeling of a book in their hands.

It’s hard to tell from the comments whether the readers are reading manga on a computer (which is definitely uncomfortable, especially for long-form stories) or smartphones. Comments about not seeing the fine detail in digital suggest that a lot of manga is being read on small screens; one of the nice things about the iPad is that it is bigger than a standard manga page, so the art looks really good. One thing comes through loud and clear, though: There is widespread dissatisfaction with the current product, even if readers are getting it for free.

Manga publishers have done a pretty good job of offering legitimate digital choices — almost every publisher has some sort of digital presence now — but judging from the responses to the Tokyopop query, readers see digital manga, whether bootleg or legit, as a way to sample and read new series. When it comes to the comics they want to own, paper still trumps pixels almost every time.

Ronald Searle

Passings | British cartoonist Ronald Searle, best known as the creator of the fictional St. Trinian’s School, passed away Friday at a hospital near his home in southeastern France. He was 91. His spiky drawings of the wicked pupils of the girls school debuted in 1941 in Lilliput magazine, leading to five books and seven films. Searle, a Cambridge native, also co-authored (with Geoffrey Willans) the Molesworth book series. [Reuters]

Conventions | Four-day passes for New York Comic Con go on sale for $85 today at noon ET/9 a.m. PT. The event will be held Oct. 11-14 at the Jacob Javits Convention Center in New York City. [press release]

Conventions | Comiket, the world’s largest self-published comic book fair, drew a total of 500,000 people for its winter convention, held Thursday through Saturday at the Tokyo Big Sight in Japan. Held twice a year, in August and December, the event doesn’t use turnstiles or unique passes, so a visitor who attends all three days would be counted each time. [Anime News Network]

Graphic novels | Writing for Newsweek, Maya Jaggi offers a broad overview of “the graphic novel renaissance,” highlighting such works as Zahra’s Paradise, Habibi and Logicomix. [The Daily Beast]

Tintin

Comics | Using Steven Spielberg’s The Adventures of Tintin as a springboard, Charles McGrath examines Hergé and his beloved boy reporter. [The New York Times]

Publishing | A pair of articles take a look at the growing Indian comics industry. [The Times of India, Daily News & Analysis]

Creators | Who Is Jake Ellis? writer Nathan Edmondson is spotlighted during a signing in Medford, Oregon. [Mail Tribune]

Creators | The Grant MacEwan University newspaper profiles local writer Robert Burke Richardson. [West Edmonton Local]