EXCLUSIVE: Battleworld Gets Dangerous in Marvel's July 2015 Solicitations
Anne Goetzinger’s Girl in Dior, out this month from NBM, is as much art book as graphic novel. While there is a narrative thread to the story, it often looks very like fashion illustration, with models arrayed across the page, posing in careful contrapposto to show off the graceful curves of the dresses. Even panels that aren’t part of the fashion show often use this same format, with a gaggle of fashion writers or Dior employees filling the panel, each one with a single comment in a word balloon.
The plot is slight and beyond implausible, a mere pretext to bring us into the world of Christian Dior: Clara, a young girl who has just been hired as a reporter, covers Dior’s first show, is fired after a disastrous photo shoot, and ends up being hired as one of his models. She’s a pretty standard-issue character—young, smart, spunky—who exists mainly as a lens through which we get an insider’s view of the Dior atelier. Indeed, the book focuses as much on the life of the people who make and model the dresses as on the designer or even Clara herself.
That doesn’t mean it’s not a great story, though. Goetzinger brings us into the world of Dior on the day of his first show, which galvanized the fashion world. It was 1947, and although World War II had been over for two years, rationing was still in place and the French were still feeling the hardships of the war and its aftermath. Dior’s “New Look” (as it was christened by fashion writer Carmel Snow) swept that aside, replacing the practical shapes and short skirts that were the result of fabric rationing with long, flowing skirts and graceful wasp-waisted silhouettes. Goetzinger shows us the action behind the scenes as well as the buzz of the crowd, but most important of all are the dresses themselves, which she renders in loving detail.
The first volume, which was both an Eisner nominee and an LA Times Book Prize finalist, involved the author’s search for a 19th-century journal, Incidents in the Night, which gave details on a plot to return Napoleon to power (and subsequently try to take over the world). The journey involved an immortal publisher hiding in a book and the angel of death, and ended on a cliffhanger. Book 2 collides with another David B. work, Epileptic, as the author’s dead brother, Jean-Christophe, picks up the search for David B. into this conspiracy-ridden, occult-driven world.
Courtesy of Uncivilized Books, we’re pleased to present a preview of what will likely be another “best of the year” list-topper from the acclaimed French artist, as translated by novelist Brian Evenson. The book is available for preorder on the publisher’s website, where it can also be purchased as a set with Book 1. Check out the preview, along with information on the book from the publisher, below.
This won’t come as a surprise to those of us who visited the Magnetic Press booth at Comic-Con International in San Diego: The publisher today announced the November release of Vox, a “Rock and Roll Concept Art Book” by the Italian artist Matteo De Longis.
The book, which is the same size and shape as a record album, is neon-colored and lovely to look at. It was published last year in France, and there’s already a book site that seems to be more about the design of the book than the interior art; there’s also a bio of the creator. De Longis, who was named as one of Marvel’s Young Guns, draws a lot of inspiration from Japanese art and works in games, animation and toy design as well as illustration. The press release includes a description of Vox that’s hard to improve on:
Manga | While at the Angouleme International Comics Festival, I had a chance to study the French manga market and talk to some of the publishers. Manga represents more than one-third of the French comics market (last year, there were more new manga releases than BDs), and sales and production dipped for the first time last year. [Publishers Weekly]
Comics | Gary Cox rounds up reactions from refugees to the Australian government’s online comic that warns them not to try to enter the country without a visa. “The people who are coming here are not economic migrants, they’re coming to have a safer, peaceful life here,” says Ibrar Hassani. And an advocate for refugees pointed out that the images of refugees suffering in detention centers were evidence that the government is deliberately mistreating them. [SBS]
Conventions | Complaints about comics conventions are apparently the same the world over, as a writer who attended the third annual Mumbai Film and Comic Convention (simply Mumbai Comic Con in its first year) this weekend notes, “Not to seem hypocritical, since we all tend to buy curios and the occasional t-shirt at Comicon every year, but when merchandising stalls (read: t-shirt shops) start outnumbering those which have an actual reason for being at a convention in the first place, we’ve got a problem.” According to DNA India, this year’s event saw the debut of the convention’s mascot, Wonder Bai (at right). [Think Digit]
Digital comics | Microsoft and the Indian publisher Amar Chitra Katha launched a comics app for Windows 8 at Mumbai Film and Comic Convention. “Children these days are drifting away from their Indian mythologies and stories, so this was our attempt to bring these value building stories on a platform familiar to them,” said Vineet Durani of Microsoft’s Windows Phone Business Group. [DNA India]
Last week, we noted that comiXology had added a major French publisher, Glénat, to its lineup. The other shoe drops today with the news that the digital-comics giant has signed 12 more French publishers: Aelement Comics, Akileos, Ankama, Éditions Ça et Là, I Can Fly, Indeez Urban Éditions, Los Brignolès Éditions, Panini Comics, Sandawe, Soleil Productions, Wanga Comics and WEBellipses.
Together with Delcourt, which comiXology brought aboard in January, this group represents 40 percent of the French comics market and more than 400 titles. You can find the French-language comics here; if you were thinking it might be a little classier to read Kick-Ass in French, well, here’s your chance. All the French comics released today are available in French-speaking European countries, and most of them are available in the United States as well.
This is a logical move for comiXology; as CEO David Steinberger observed at SXSW, 40 percent of the company’s sales are outside the United States, and this expands the market even further. In keeping with this, comiXology has included a French-language navigation option in the latest release of its iOS app, version 3.3, and Android users will soon get that option as well.
Several French-language news sites are reporting that French publisher Glénat, whose properties include Titeuf and The Little Prince, has signed with comiXology and will begin releasing comics on the digital platform this month.
This is the second big score in France for comiXology, which opened a European branch in Paris in January and a few days later announced it had inked a deal with Delcourt, the largest independent publisher in France.
Glénat is the second-largest comics publisher in the French market, with a catalog of over 4,000 titles. Its properties include Le Bleu est une couleur chaude (Blue is the warmest color), whose film adaptation won the Palme d’Or in Cannes last month, as well as a range of French and Belgian comics. It’s also one of the big players in the French manga scene (although it’s unlikely any of the manga will make it onto comiXology as the licenses are usually country-specific). The number of titles to be released through comiXology has not been announced.
Publishing | More than 4,000 new comic titles were released in the European Francophone market in 2012, marking the 17th consecutive year of growth. According to the Association des Critiques et journalistes de Bande Dessinée, the French association of comic strip critics and journalists, more comics were produced in the Francophone market than in the United States. [RFI]
Comics | The death of Spider-Man hits the mainstream media, with Marvel Editor-in-Chief Axel Alonso asserting, “We didn’t make this move lightly.” Stan Lee called it “a helluva birthday present” but added “But then, a little voice in my head whispered, ‘never say never. Just go with it while you can because Marvel, the House of Ideas, will always have a surprise up its creative sleeve for you and the rest of Marveldom Assembled!'” Entertainment Weekly’s Geoff Boucher said the ongoing deaths of superheroes are starting to feel “a little gimmicky” but he also nailed why the publishers do it: “if you look at who’s buying Marvel and DC, it’s long term fans and those readers are going to complain about this and debate about it — but are going to buy two copies.” [New York Daily News]
Call it serendipity: I was poking around looking at something else, and somehow I stumbled on the Coconino Classics website, a stunning treasure trove of early comics. The site includes beautifully designed sub-sites for a number of artists, including Krazy Kat creator George Herriman and Little Nemo creator Winsor McKay, that feature biographies, bibliographies, and generous samples of their work. Artists from the pre-history of comics, such as Hokusai, George Cruickshank and Rodolphe Töpffer, and more recent creators such as Rube Goldberg and George McManus get more modest pages that still include digitized versions of their work and the occasional article by comics scholar Thierry Smolderen.
It’s all part of a larger site, Coconino World, that features contemporary as well as classic comics. It’s a French-language site, but much of the text is translated into English, and of course the comics are in their original languages.