Legal | Marvel has sued a Jerusalem retailer for $25,000, claiming the well-known Kippa Man store is infringing on its trademarks by selling unlicensed yarmulkes bearing Spider-Man’s likeness. “A reasonable consumer could be fooled into thinking that the infringing product is manufactured and/or sold by the plaintiff with the knowledge and/or approval of the defendant,” Marvel said in its complaint. Kippa Man owner Avi Binyamin notes the yarmulkes are manufactured in China, and that he only sells them. “There are 20 stores on this street, they all sell the same thing,” he told The Jerusalem Post, theorizing that he’s being targeted because his store is well known. The Times of Israel characterized the lawsuit as “the first move by Marvel against what it perceives as widespread copyright infringement in Israel, where products featuring its copyrighted superheros are commonly sold.” [The Jerusalem Post, The Times of Israel]
Simon Gane (Nelson, Godzilla Legends: Rodan) has posted his cover to Eureka’s upcoming Halloween Classics, volume 23 of their Graphic Classics line. It’s from Arthur Conan Doyle’s mummy short story, “Lot No. 249,” which Gane is also helping to adapt for the anthology. Gane’s also shared some amazing, intricately detailed pages from that.
Halloween Classics goes on sale in August and also features adaptations of “The Legend of Sleepy Hollow,” HP Lovecraft’s “Cool Air,” Mark Twain’s “A Curious Dream,” and the German Expressionist silent film classic, The Cabinet of Dr. Caligari.
(via The Comics Reporter)
Webcomics wunderkind Emily Carroll is taking her deliciously dark comics to dead tree. According to Publishers Weekly, Simon & Schuster’s Margaret K. McElderry Books will be publishing His Face All Red and Other Stories, a book-length collection from the celebrated (mostly) horror-comic creator. The book will also be released in the UK through Faber & Faber and in Italy through Stile Libro.
As a big fan of Carroll’s vibrant colors, exquisite pacing, and genuinely creepy, genuinely bleak stories of murder and monstrousness, I’m really looking forward to this one. I’m doubly curious to see how her existing stories, which frequently make use of the “infinite canvas” of the web in terms of layout, translate to the printed page.
Carroll, might I remind you, had never drawn a comic prior to May 2010. So, y’know, holy smokes.
Never let it be said that webcomics wunderkind Emily Carroll is not a woman of her word. When she began her latest horror comic “Margot’s Room” at the beginning of October, she promised there would be blood. Well, she’s posted the fifth and final chapter just in time for Halloween. The title? “BLOOD.” And yes, the climax of Carroll’s dark domestic nightmare lives up to the name.
Read the whole thing by visiting the opening page and clicking on the objects mentioned in Carroll’s poem, in the order she mentions them. And don’t miss her earlier stunner of a horror comic “His Face All Red” while you’re at it.
It’s hard to believe it’s been less than a year since Emily Carroll burst into comicdom’s consciousness with her miniature masterpiece of a horror webcomic “His Face All Red.” In that time she won a Joe Shuster Award for Outstanding Web Comic Creator — quite a feat for someone who’d literally never drawn a comic before May 2010. Now that it’s October, the spooky season is upon us again, and what better way to celebrate than “Margot’s Room,” Carroll’s new webcomic? Once again it’s an innovatively structured affair: The landing page is a picture of the titular room, and every week a new line will be added to a poem at the top of the page, hinting at the objects in the room you need to click on to read the next few pages. (Hint: Start by clicking on the flowers.) So far, so creepy, but what exactly are we in for? “There Will Be (More) Blood,” Carroll promises. I can’t wait.
One of the weirdest books I ever ran across was Wisconsin Death Trip, a compilation of old photographs and newspaper articles that put the lie to the notion that things were better in olden times. It read like a fin-de-siecle version of the New York Post, with clippings about murders, abductions, all manner of craziness, juxtaposed with period photographs. What was interesting about the book, at least to me, was that it showed there is a hidden side of human nature that is universal — yes, there were murders and sex crimes in the 1890s — yet at the same time so far removed from our current existence that it seems unreal.
A similar spirit seems to underlie Sam Costello’s upcoming graphic novel Labor & Love: A Garland of American Folk Ballads, which is set to debut in October at SPX. Costello is best known as the writer of the horror comic Split Lip, and this comic, illustrated by Neal Von Flue, features comics based on four folk songs about craziness and death that all have a surrealistic feel.
[UPDATE: Big thanks to commenter SKFK, who tells us that the story is called “Bongcheon-Dong Ghost” (Bongcheon-Dong was the name of a poor area of Seoul, since renamed to avoid past negative associations), and was written and illustrated by Horang (the pen name of 25-year-old cartoonist Jong-Ho Choi).]
…and that’s about all I can say about it, really: This is a very scary webcomic. The text of the strip and the site on which it’s found is in Korean, which I cannot read, and Google Translate doesn’t clearly indicate an author or title, nor translate the text in the comic itself. But the content is crystal-clear even despite the language barrier. As Batman Incorporated artist Chris Burnham (through whom I found the comic) put it, “The pictures tell the story.” And the story, about a girl walking on a deserted city street who sees a strange-looking passerby in the distance, is scary as hell. Like Emily Carroll’s “His Face All Red” before it, this comic uses the unique properties of the web (albeit in a totally different way — you’ll see when you read it) to deliver an intensely uncomfortable experience. Read it yourself, preferably with your speakers on and nothing you can’t afford to drop in your hands.
Meanwhile, if any Korean readers or manhwa fans out there can help us out with the creator, title, and translation of the comic, please let us know in the comments below.
For the last few years, when not busy with his day job teaching sequential art at the Savannah College of Art and Design (SCAD), Brian Ralph has been busy working on his latest graphic novel, Daybreak. The book is a slight departure of sorts for Ralph — best known for his early work as part of the highly influential Fort Thunder collective and for books like Cave-In — in that it delves into the horror genre. Yes, it’s another zombie book, but it’s a zombie book with a unique twist, with everything viewed from the perspective of an unnamed survivor (i.e. the reader), as he explores a foreboding landscape and finds a potential friend amidst all the devastation.
Daybreak makes it debut at Comic-Con this year, and Ralph will be on a panel at 5 p.m. (Pacific time) 14today with Anders Nilsen and Jeff Smith on the subject of “Epic Literary Adventures” (in Room 9).
I talked with Ralph over email about the panel, the new book, and the adventures of teaching comics to college students.
Daybreak is a horror story told from a unique, first-person perspective. Which came first for you, the desire to do a horror tale or the unique way of telling it?
I don’t play video games, but I felt there was something exciting about how a person could be immersed in the world of a video game. With comics the reader isn’t an active participant in the storytelling. I wanted to make a comic that, in it’s own way, achieve some feeling of participation and immersion. I was looking for interactivity of some kind.
I had not seen a “first-person shooter” style of comic before. It turned out to be very exciting approach to storytelling. I was constantly trying to figure out new ways for the reader to feel like they were interacting with the characters and become characters in the story as well. I made some decisions along the way; to never show the reader’s “character” such as in a mirror. I didn’t want the reader to talk with a word balloon. I felt those things would break the illusion. It was tricky to work with those constraints, but such a fun challenge.
Last year Drew Rausch and Aaron Alexovich’s Eldritch! was the winner of the final Zuda webcomics competition, but before the strip could begin its run, DC Comics shut down the site and imprint.
That might have slowed Rausch and Alexovich down, but it certainly didn’t stop them, as they plan to release Eldritch! “to every digital device known to God, Man, and Shoggoth alike, including your desktop, iPad/iPod/iPhone, Android, Nook, Kindle, and eNecronomicon (pending).” That includes Graphicly and comiXology, as well as directly from their website as a PDF.
The comic will debut on June 15 for 99 cents, and the first nine pages are available to preview now ontheir website.
You can find the press release, which is kind of a fun one as far as press releases go, after the jump.
Wanna get your hands on some pulpy, creepy, weird, funny and, at times, genuinely harrowing horror comics? Allow me to introduce you to Lane Milburn, who’s got the deal for you. Milburn, a member of the Baltimore-based Closed Caption Comics collective, is offering two of his collections, the Xeric Grant-winning Death Trap and the screen-printed “mini”comic The Mage’s Tower, now on sale for the low low price of $12 total.
The cool thing about Milburn’s comics is that you can never quite tell where they’re headed. The title story in Death Trap seems like your typical slasher/Texas Chain Saw set-up, with a quartet of drunk teens stumbling into some bad craziness in the woods one night, but the killers they encounter are far, far stranger than the ones in the midnight movies of yore. Meanwhile, the other collection’s quasi-title story “The Mage’s Tour” (tour, not tower) starts like a fantasy novel about a pair of monks sent to liberate a tower from the clutches of an evil overlord, takes a left turn into comedy when it’s revealed that said overlord has turned said tower into a modern-day tourist trap complete with middle-aged moms who can’t work a cameraphone, and then shifts yet again into a stunningly dark depiction of violence. Milburn’s muscular, crosshatched art style can have you laughing one moment, cheering through an action sequence the next moment, and leave you shaken and disturbed when all is said and done. Highly recommended.
The Late March Mayhem sale only lasts until April 1, so order now!
Chris Ryall has a preview up at his blog of That Hellbound Train, a three-part miniseries based on Robert Bloch’s Hugo-winning short story “That Hell Bound Train.” (Bloch is best known as the author of Psycho, the novel on which the Alfred Hitchcock movie was based.) The story is a classic deal-with-the-devil tale with a nice twist at the end, and it should make a great coimc.
Writers Joe and John Lansdale are doing the adaptation; you may remember that Joe is also the writer for IDW’s latest iteration of 30 Days of Night. David Wachter, who was nominated for an Eisner for his work on The Guns of Shadow Valley, is the artist for the project. On his blog, David shows how he developed the first cover.
The Sherlock Holmes/Dracula miniseries Scarlet in Gaslight, written by Martin Powell and illustrated by Seppo Makinen, was published in 1988 and nominated for an Eisner Award the following year. It has been out of print recently, but last month Powell announced that Pulp 2.0 will publish four of his graphic novels. In addition to Scarlet in Gaslight, they include A Case of Blind Fear, which pits Sherlock Holmes against the Invisible Man; Ghosts of Dracula, in which Dr. Van Helsing and Harry Houdini battle the Lord of the Undead; and a straight-up adaptation of Frankenstein. All the books are written by Powell and illustrated by Makinen, except for Frankenstein, which was illustrated by Patrick Olliffe.
Pulp 2.0 initiated a graphic novel line late last year, launching it with the 1980s series The Miracle Squad and The Twilight Avenger, both by writer John Wooley and artist Terry Tidwell. It looks like they will be released as graphic novels, both digital and in print, with cleaned-up graphics and bonus features.
Powell talks a bit about his comics work at Jazma Online, focusing on more recent works like his resurrection of The Spider for Moonstone.
(Via Comics 411)
Courtesy of our friends at Dark Horse, we’re pleased to present a preview of the upcoming horror collection Boris Karloff Tales of Mystery Archives Volume 5. The archive collects stories written by Dick Wood circa 1969-1970 and includes an introduction by horror film legend Christopher Lee.
Check out the pages and more info after the jump.
This quietly sinister webcomic has been tearing up the comics Internet over the past few Halloween-dominated days, and for good reason. Presenting “His Face All Red” by Emily Carroll — a beautifully colored little nightmare with an ending as black as the background. When I finished it, I actually muttered “whooo” out loud, I was so impressed. Enjoy, if that’s the word for it.
(Via Tom Spurgeon)
Welcome to another spook-tacular edition of What Are You Reading? Our special guest this week is writer Sam Costello, who operates and writes horror comics for the site Split Lip. If you’re looking for some spooky stories to read tonight, it’s a good place to start.
To see what Sam and the rest of the Robot 6 crew have been reading lately, click below, if you dare …