Confirmed: Geoff Johns Is the New President of DC Entertainment
Comic Books, Film, TV
Graphic novels | Between them, Attack on Titan and The Walking Dead claimed nine of the 20 spots on BookScan’s October rundown of the top-selling graphic novels in bookstores. The first volume of Attack on Titan led another strong month for manga, which placed nine titles in the Top 20. New DC Comics books, rather than simply evergreen sellers, made an appearance, too, with the Batman: The Court of Owls mask and book set, the Joker: Death of the Family hardcover and the third Justice League hardcover landing in the Top 10. [ICv2]
Creators | Joe Sacco talks about his work, his collaboration with journalist Chris Hedges, and why he doesn’t portray himself with eyeballs. [Straight.com]
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 this Wednesday, it’d be all Image for me – starting with Nowhere Men #3 (Image, $2.99). The Beatles as a scientific supergroup, through the lens of Dr. Strangelove? Let’s do this. I’ve been a big fan of Nate Bellegarde for a while, and this book finally seems to capture what’s unique about him – his comedy, his stark scientific acumen, and his humanism. After that I’d get Glory #32 (Image, $3.99). Beautiful cover by Ricken here, and reads like a great manga building up to some epic battle. After that I’d get Brian Wood and Ming Doyle’s Mara #2 (Image, $2.99). I tried to hold back my expectations before reading Issue 1, and I was blown away – so now Issue 2 has something to prove. Finally, I’d get Invincible #100 (Image, $3.99) (Cory Walker’s cover, if you want to know!). I’ve said it before, but I’ll say it again: I think Invincible is better than The Walking Dead. No need to compare the two really, though, because no matter how you cut it, this series is great … and what Kirkman and Ottley have planned for the 100th issue looks to be unique – both for the promised deaths and the promise of seeing what could have been had Mark Grayson chosen differently.
If I had $30, I’d make up for lost time and get Brian Ralph’s Cave-In (Drawn & Quarterly, $14.95) . I’m reticent to admit this, but I’ve never read this book. I loved Daybreak, but never found a copy or the motivation to seek out more … but this Wednesday that will change.
For splurging, I already have most of this in the single issues, but I can’t help but splurge on the new collection X-Men: Mutant Massacre (Marvel, $34.99). This was my first crossover in comics, buying back-issues before I discovered events like Crisis on Infinite Earths and Secret Wars. In my rose-colored glasses, it’s an ideal crossover for not being too overbearing and relating to a conflict or situation that isn’t superhero-specific. Love the Morlocks, love Uncanny X-Men and the associated books around this time, so I’m buying this and spending an evening enjoying it all over again.
Hello and welcome to another edition of What Are You Reading?, where each week we talk about comics and other stuff we’ve been checking out lately. Today we welcome special guest Joshua Williamson, writer of Masks and Mobsters, Captain Midnight (which has been running in Dark Horse Presents), Uncharted, Voodoo and much more.
To see what Joshua and the Robot 6 crew have been reading, click below …
As the comics community continues to process the news of Joe Kubert’s death, everything else feels very secondary. One way of honoring the legendary artist and teacher is by appreciating his art, and the art of his peers. Steve Niles discovered this series of art jams featuring a Kubert Hawkman alongside Wendy Pini’s Elfquest characters, Neal Adams’ Conan, Dave Cockrum’s Human Torch, and others. The rest of the jams include characters drawn by C.C. Beck, John Romita, John Byrne, George Perez, Gray Morrow, Dave Sim, Jack Kirby, Jim Steranko, Curt Swan, Jim Aparo, Milton Caniff, Hal Foster, Al Williamson, Chester Gould, and the list goes on and on.
I don’t know the history behind these pieces, but it occurs to me that many of these comics legends are still with us. In addition to saying our good-byes to Mr. Kubert and offering appreciations of his work, another great way to honor his legacy might be to reach out and express similar appreciation to living creators whose work we love.
Hello and welcome to another edition of What Are You Reading? Our special guest this week is Matthew Thurber of 1-800 Mice and Infomaniacs fame. To see what Matthew and the Robot 6 crew have been reading, click below.
Conventions | Wim Lockefeer lines up the exhibits he’s looking forward to at the 39th Angoulême International Comics Festival, which begins today in Angoulême, France. [The Forbidden Planet International Blog Log]
Legal | Cartoonist Albert Lekgaba was sketching the proceedings of the Botswana Court of Appeal when security officers asked to step out of the courtroom, confiscated his work, and told him he could not draw in court, “especially if the judges were present.” When the judges learned of this, however, they informed the court registrar that sketching is indeed allowed, and they ordered that Lekgaba be readmitted to the courtroom and his sketches returned to him. [The Botswana Gazette]
Passings | California newspaper cartoonist John Lara has died at age 56. [Coastline Pilot]
Creators | Heidi MacDonald sums up a number of recent posts on piracy and the creative life in one mega-post, and a lively discussion follows in the comments section. [The Beat]
Welcome to another edition of What Are You Reading? Today our special guest is Kevin Colden, whose comic work includes Fishtown, I Rule the Night, Vertigo’s Strange Adventures and Yours Truly, Jack the Ripper, among others. He’s also the drummer for the band Heads Up Display.
To see what Kevin and the Robot 6 crew have been reading lately, click below …
Prince Valiant, March 16th 1941, panels 4 and 5. Hal Foster.
Sequencing is unique among the comics artist’s crafts; the one skill that’s completely remote, completely theoretical, that doesn’t involve making something that exists in actual physical space. The artist creates the sequence in his or her head, and then makes it real. Once medium hits surface to begin that process, though, what’s being done is no longer sequencing but drawing. In division-of-labor comics that are drawn from someone else’s scripts, sequencing is the only outlet an artist can use to “write” their own work. It deals not with the look of things but with the flow of information, the rhythm of the story, the way the reader is led to comprehend what the comic is showing them.
That’s why sequence is easily the aspect of comics-making that has the vastest and most complex potentials to it. But in another way, it’s also the simplest. If one were to explain clearly what it is to write comics, plot and character would need mentioning, and then there’s dialogue, dynamics, dramatic expression… and on and on. To describe comics drawing is a similarly tricky task: there’s the age-old tug of war between cartoon and realism, plus simplification, individual stylism, design, and that’s all without even getting into the question of what medium is being used to put the information on the paper. The act of sequencing — despite the complexity its more advanced practitioners bring to the table — is a pure, immaculate truth by comparison. It’s making a decision about how the next panel looks, and that is all.
Prince Valiant Vol. 1: 1937-1938
by Hal Foster
Fantagraphics Books, 120 pages, $29.99.
Who knew that Prince Valiant, a comic strip I always assumed appeared next to the word “boredom” in the dictionary, was so vibrant, colorful, action-packed and gosh-darned fun? Who knew it was actually any good?