"Batman v Superman: Dawn of Justice" Trailer Officially Released
Dark Horse Comics is celebrating Hellboy’s 21st birthday with a beer — specifically, the Right Hand of Doom Red Ale, a limited edition release from Oregon-based Rogue Ales.
Though available nationally at Rogue.com, the Right Hand of Doom debuts in Portland at the Things From Another World Comics store, where Hellboy creator Mike Mignola will be signing books alongside Matt Kindt (Mind MGMT), Eric Powell (The Goon) and Brian Wood (Rebels) on Friday, Feb. 20.
Crime | Nineteen people were sent to hospitals early Sunday following what appears to have been the intentional release of chlorine gas at the Hyatt Regency in Rosemont, Illinois, host of the Midwest FurFest furry convention. The incident began shortly after midnight, when firefighters and hazmat crews responded to a complaint of a noxious odor on the ninth floor of the hotel, where they found high levels of chlorine gas. Guests were evacuated, with many sent to the nearby Donald E. Stephens Convention Center. Hazmat technicians found what they suspect to be powdered chlorine in a stairwell at the ninth floor. The Rosemont police are treating the event as a crime, as it appears the gas release was intentional. The hotel was decontaminated and the attendees were allowed to return around 4:20 a.m. Midwest FurFest, which with nearly 4,000 attendees in 2013 claims to be the second-largest furry convention in the world, issued a statement about the incident. [Chicago Tribune]
“What keeps this industry alive is creators doing their own work. Once you change a costume or origin enough times, it’s a dead body — you’re just electrocuting it and keeping it sort of shambling on. There is a lot more creator-owned stuff now, and some of it I look at and go, ‘Oh, that’s his pitch for a TV show. That’s his pitch for a movie. That’s him saying oh, this kind of thing sells.’ I didn’t do that. My one piece of advice to people who are saying “‘I wanna do it, but DC and Marvel pay so well …’ is that in between your big paying gigs, just find time just to do one comic! It doesn’t have to be a 6,000-page epic! It doesn’t have to be Hellboy! Ten years down the road, when you’re scrambling for work or drawing some book you hate, at least you did something when you had fire in your belly that’s really you.”
Manga | The top-selling manga in Japan this year was One Piece, with nearly 11.9 million volumes sold; Attack on Titan came in a close second, with 11.7 million. [Anime News Network]
Publishing | Jim Zubkavich updates his post from last year about the long-term sales and profitability of his series Skullkickers. There are some interesting angles to this, including the cost of his deluxe collected editions, the boost he got from his “reboot,” and the importance of digital sales in the long term: “Since there’s no print run or storage limit with digital they continue to build profitability over the long haul (particularly with the early issues as new readers sample the series during comiXology sales). Many issues that lost money in their initial print release have been able to make back their losses thanks to digital.” [Zub Tales]
Dark Horse will celebrate the 200th issue of Dark Horse Presents in February with an 80-page installment that includes the first U.S. publication of “Masks,” a short story by Gone Girl author Gillian Flynn and veteran artist Dave Gibbons.
The story, about a mother turned masked vigilante, originally appeared in April as part of The Guardian’s celebration of the opening of the “Comics Unmasked: Art and Anarchy in the U.K.” exhibition at the British Museum. “Masks” marks Flynn’s comics debut.
Graphic novels | Although BookScan’s September list of the bestselling graphic novels in bookstores is populated largely by old stalwarts — The Walking Dead, Attack on Titan, Saga, Watchmen — Guardians of the Galaxy, Vol. 1, the only Marvel title on the chart, clung to the Top 20 in its second month of release (although it slipped from No. 4. to No. 20). Bryan Lee O’Malley’s Seconds, meanwhile, climbed in its third month to No. 6. One new manga debuted at No. 12: Noragami, about a homeless god who does odd jobs as he tries to build up his reputation; the anime is already out, which probably gave it a boost. [ICv2]
Publishing | A television reporter pays a visit to the Last Gasp offices to talk about the Kickstarter recently launched by the longtime publisher of underground comics (and other quirky books). It’s worth a look just to see the owner’s amazing collection of oddities. [NBC Bay Area]
With just three weeks until the official start of Comic-Con International, Dark Horse unleashed what it calls its “first wave” of convention-exclusive items, which includes a Usagi Yojimbo lithograph, Hellboy in Hell and Itty Bitty Hellboy hardcovers and — wait for it — an Itty Bitty Hellboy plush toy.
The products will be available throughout the convention at the Dark Horse booth (#2615), with the publisher allocating a set number of exclusives and limited editions for each day.
With April sales numbers released from Diamond Comic Distributors, a subtle pattern has revealed itself: Dark Horse has reclaimed its position as fourth-largest publisher from IDW Publishing for three months straight. It’s a streak of growth in market and dollar share that hasn’t happened for Dark Horse since fall 2011.
It’s great news for an industry mainstay that seemed to be getting eclipsed by the younger IDW at its own game of mixing licensed properties with creator-owned titles. Whether it’s temporary or not, digging into the sales charts, it’s clear there’s more stability in Dark Horse’s catalog than there might first seem.
Obviously Star Wars is the property many know the company for, and when it was announced the license would move at the end of this year to Marvel, some worried how Dark Horse would carry on. However, most publishers realize that no license is forever, so Dark Horse has built a diverse library that seems to be lifting it up now. Despite such diversifying, Star Wars is still the big seller at comic shops, but it’s only the beginning. The back-to-back launch of The Star Wars, a comics adaptation of an early draft of George Lucas’ screenplay, and a back-to-basics Star Wars by Brian Wood provided two accessible titles; if you’d ever seen the original Star Wars trilogy, you’re all set. The last issue of The Star Wars comes out later this month, with a collection in both hardcover and softcover to follow in July.
Legal | Signe Wilkinson, Pulitzer Prize-winning cartoonist for The Philadelphia Inquirer and Philadelphia Daily News, has been named in a defamation lawsuit filed against the newspapers by Pennsylvania Supreme Court Justice Seamus McCaffery and his wife Lise Rapaport. The judge and his wife accuse the two papers of running a smear campaign against them, and the suit specifically mentions a Wilkinson cartoon satirizing their marital and work relationship (it’s complicated). Blogger Alan Gardner adds that he hasn’t been able to find a case in which a cartoonist was successfully sued for defamation, although in this case the newspapers’ reporting is part of the issue as well. [Philadelphia, The Daily Cartoonist]
Legal | Those wondering how Stan Lee Media can possibly afford its long, and so far entirely unsuccessful, legal battle with Marvel and Disney may want to read this brief Wall Street Journal article about “litigation finance” — which it characterizes as the growing practice of investing in lawsuits. However, pointing to the fight over the rights to Spider-Man and other characters, writer Rob Copeland points out there are high risks: namely, that investors could never see financial return. As we’ve noted before, Stan Lee Media’s efforts are backed by a group of investors that includes the $21 billion hedge fund Elliott Management, which helps to explain why the lawsuits keep coming. [MoneyBeat]
“It is dreadful. But, this is what happens: You get better with time. I actually have been looking at it the last couple of days because I’m writing something where I have to reference things that happen in that first issue. The voice isn’t there. John [Byrne] and I had a completely different take on what the writing should be like on it. We didn’t have different ideas from each other, but together we’d agreed on this approach to the writing of it. It worked fine, but I realized after doing it that it wasn’t the book I had in mind.
It’s pretty primitive, and yet it does present all my ideas. It’s not like at some point I said, ‘Oh, we’ve gotta ignore everything that’s gone before!’ It’s one of the things I’m proudest of looking at 20 years worth of this stuff. I didn’t write myself into any corners, I didn’t have to hit any reset buttons, I’m still referencing things that are in these first couple issues of Hellboy. To some extent, I got it right right out of the bat story-wise. It’s the way it’s drawn and colored, all that stuff has gotten radically refined.
— Mike Mignola, reflecting on Hellboy: Seed of Destruction #1, released in March 1994. The 20th anniversary of that first issue will be celebrated Saturday worldwide with Hellboy Day. You can see the list of participating retailers at the link.
I knew that Saturday is Hellboy Day, with events held around the globe to mark the 20th anniversary of the release of Mike Mignola’s Hellboy: Seed of Destruction #1 — but nobody told me there would be chocolate!
Pop Candy has the details about the limited-edition series of Hellboy chocolates, designed by renowned chocolatier Richard Ruskell, and featuring wrapper art by Mignola and names like Abe Sapien Sea Salt Bar, “Taste the Justice” Lobster Johnson Bar and Hellboy Inferno.
They’ll be available Saturday during the Hellboy Day event at Meltdown Comics in Los Angeles, and afterward at Sweet! Hollywood.
“I know there’s a certain appeal for creators to work on the classic characters like Batman, Superman and Spider-Man, but I’ve said this before: I asked creators who have worked on those books who the people were doing the books ten years ago, and they don’t know! But I can say, ‘Who worked on Sin City?’ and they’ll go ‘Frank Miller.’ Who worked on Hellboy? Mike Mignola. Who worked on The Goon? Eric Powell. They know it instantly. So to me, the lure of creating your own character and owning it — owning your own universe and being associated with that — in the long run for talented writers and artists makes me question why someone would toil away on a company owned character for years and years of their lives.”
– Dark Horse founder Mike Richardson, discussing his company’s commitment to publishing creator-owned work
Dark Horse took a rather novel approach with its holiday card this year, turning to Art Baltazar and Franco of Tiny Titans and Itty Bitty Hellboy fame to create not just a card but an unfolding comic, with cameos ranging from Darth Vader and Battlepug to the Mask and Publisher Mike Richardson.
See the rest of the card/comic below.
As dangerous as it’s proved in the past, I’m refining another theory. Comics fans are divided into two schools: those who like expressionist comic artists, and those who like realist art. Were your tastes decided by what comics you were exposed to first? Or did you start off liking one school, and develop into a love of the other?
I can see a pattern emerging through my comics-reading history where I start off as a kid loving the Kirby reprints I’m first exposed to, grew up loving Mick McMahon’s work in 2000AD and came back to comics as an adult under the spell of Mike Mignola. In my time, I’ve admired the work of realists like Neal Adams, Brian Bolland and Bryan Hitch, but it’s the work of those three expressionists that I always return to.
So imagine the pleasure I got seeing McMahon sharing his process for a cover for Dark Horse Presents #32. The January solicitations had passed me by, but that issue really is one for the old -chool 2000AD fans — the collaboration between Mignola and McMahon is joined by a new strip by Brendan McCarthy, “The Deleted.” Now that I think about it, a collaboration between McMahon and Mignola has a fairly inevitable feeling about it. No two comic artists have ever sought to refine their styles so much, constantly paring their work down in a pursuit of minimalism.