Check out Diamond’s release list or ComicList, and tell us what you’re getting in our comments field.

Thief of Thieves #1

Chris Arrant

If I had $15, I’d start with Thief of Thieves #1 (Image/Skybound, $2.99). The gang at Skybound gave me an advance PDF of this issue, and I like it so much I want to hold the physical thing in my hands. Shawn Martinbrough really nails this first issue, and Nick Spencer really puts his Marvel work to shame with this story. Next up I’d get my favorite DC Book – Batwoman #6 (DC, $2.99) – and favorite Marvel book – Wolverine and The X-Men #5 ($3.99). I’d finish it all up with Northlanders #48 ($2.99). I’m not the biggest fan of Danijel Zezelj’s work, but I can’t let up now to see my long-running commitment to Northlanders falter at this point.

If I had $30, I’d dig into Richard Corben’s Murky World one-shot (Dark Horse, $3.50). Corben’s one of those “will-buy-no-matter-what” artists for me that Tom Spurgeon recently focused on, and this looks right up my alley. Next up I’d get Secret Avengers #22 (Marvel, $3.99) because Remender’s idea of robot descendents intrigues me, and then Wolverine and The X-Men: Alpha and Omega (Marvel, $3.99). I didn’t know what to expect from the first issue, and after reading it I still don’t know where this series is heading – but I like it so far. Finally, I’d get Haunt #21 (Image, $2.99). The combination of Joe Casey & Nathan Fox is like a secret code to open my wallet.

If I could splurge, I’d take the graphic novel Jinchalo (D+Q, $17.95) by Matthew Forsythe. I loved his previous book Ojingogo, and this looks to continue in that hit parade.

Berlin #18

JK Parkin

There’s a brand new issue of Jason Lutes’ Berlin ($4.95) hitting comic shops this week, which seems like a good way to spend the first third of my $15. According to Drawn & Quarterly, there are only about four issues of this excellent series left, which will give me a great reason to go back and read all the issues again in one sitting. Next on my list would be Thief of Thieves #1 ($2.99), the new Nick Spencer/Shawn Martinbrough/Robert Kirkman joint from Skybound. I’d also grab the new Conan series ($3.50), featuring the work of two of my favs, Brian Wood and Becky Cloonan. How cool is it to see the Demo team reuniting on something like Conan? Their Northlanders story rocked, so I’m looking forward to this. And speaking of which, Northlanders is coming to a close soon, so this is one of the last times I’ll be able to put it on my list here … so I’d spend my last few dollars on issue #48 ($2.99).

Based on the review Brigid gave it a few weeks ago, I’d spend all of my next $15 on Dotter of her Father’s Eyes by Mary and Bryan Talbot ($14.99)

For my splurge item this week, I dunno … The Strange Case of Mr. Hyde ($14.99) looks interesting, and there’s also the Fantastic Four Season One graphic novel that looks nice, but do I really need to spend $25 to yet again see how the FF become the FF? Probably not. No, instead I’d probably go with One Model Nation, by Dandy Warhols lead singer Courtney Taylor and artist Jim Rugg. Although I’m really hesitant to spend $25 on a graphic novel by a singer–Gerard Way notwithstanding, singers trying to write comics doesn’t always end well–the fact that Jim Rugg did the art is a great selling point for me. I missed it the first time it was published by Image, but I’d be willing to check out the new edition by Titan if, indeed, I had some splurge money to spend.

Memorial #3

Graeme McMillan

If I had $15 this week, I’d start with a book I’ve been curious about since its announcement: Conan The Barbarian #1 (Dark Horse, $3.50). I’ve never really been the biggest fan of Robert E. Howard’s fantasy hero, but the idea of Brian Wood and Becky Cloonan handling the character gets me very interested indeed. I’d also grab the first issue of the Robert Kirkman/Nick Spencer collaboration Thief of Thieves #1 (Image, $2.99), about which I’ve heard a lot of good things, and Memorial #3 (IDW, $3.99), the latest of this apparently-underrated book that I am completely in love with currently.

If I had $30, I’d also grab Kevin Keller #1 (Archie, $2.99), Batman and Robin #6 (DC, $2.99 and the best of the Batbooks from my point of view; sorry, Scott Snyder and everyone else) and Wolverine and The X-Men #5 (Marvel, $3.99), easily the best X-Book that’s been around since the first Chris Claremont run. It’s all about the creature comforts, sometimes.

When it comes to splurging, though, it’s all about the new takes on old stories: I’d go for Fantastic Four: Season One Premiere HC (Marvel, $24.99), to see how Marvel’s new line pans out; I’m unconvinced by the core concept of “retelling the origins all over again,” but the creative line-ups and OGN format makes me want this to work out for the House of Ideas.

Dotter of Her Fathers Eyes

Brigid Alverson

If I had $15, I’d spend it all on floppies, and I’m skewing young this week. Kevin Keller #1 ($2.99) from Archie is a must, of course. Up till now Kevin has been a bit too good to be true, and I’m hoping Dan Parent will at least get him into some scrapes now that he has his own series. Then I’ll take Princeless #4 ($3.99); I caught up with this series on Graphicly over the weekend because it was getting good buzz, and I like it a lot. The feisty-princess thing isn’t exactly new these days, but the creators get in some clever digs. Adventure Time #1 ($3.99) is another must-have, with the creative combo of Ryan North and artists Braden Lamb and Shelli Paroline. It’s based on some Nick show–yeah, whatever. This team can do no wrong in my book. That leaves just enough for the first issue of Brian Wood and Becky Cloonan’s Conan the Barbarian ($3.50) from Dark Horse, with change left over for some penny candy to munch on while I read.

If I had $30, I would add in Mary and Bryan Talbot’s Dotter of Her Father’s Eyes, from Dark Horse. The price looks like a typo: $14.99 for the hardcover? It’s a great story (I have already read it), layering Mary Talbot’s childhood as the daughter of an eminent Joyce scholar with the story of Joyce’s daughters and her own struggles against her family and the mores of the time. Mary’s voice is pitch-perfect, and Talbot’s illustrations really capture the era. I know it’s only February, but I’m already putting this on my top ten list for 2012.

Splurge: There’s no huge $50 collection of vintage comics calling out to me this week, but the regular comics are so good I want more. I would like to see IDW’s Archie Treasury: The Best of Dan DeCarlo ($9.99), and the first volume of Vertical’s GTO: 14 Days in Shonan ($10.95) (the prequel to the classic manga series GTO) are both calling to me. And for some stylish girls’ comics, I’ll take issue 4 of PC Cast’s House of Night ($2.99) just for Joelle Jones’s illustrations, and vol. 6 of The Story of Saiunkoku ($9.99) because it’s an elegantly drawn, charmingly written shoujo manga, and I’m really enjoying reading it.

Jinchalo

Chris Mautner

If I had $15, the new volume of Bakuman is calling out to me. I just finished Vol. 8 and am eager for more breathless treatises on how the manga industry operates. On top of that I’d also grab the latest issue of Berlin, Jason Lutes’ ongoing historical saga. Part of me feels a bit foolish for not trade-waiting on these — I tend to think the story reads better in solid chunks than piecemeal — but I’m such an impatient soul.

If I had $30; I’ll read just about anything Bryan Talbot does, so I’m definitely interested in picking up Dotter of Her Father’s Eyes. I might put it all back, however, and pick up Jinchalo, the latest wordless comic from Matthew Forsythe, a sequel of sorts to his rather charming Ojingogo.

Splurge: Casual Robert Crumb fans might be interested in The Life and death of Fritz the Cat. Jack Kirby fans will definitely be interested in Young Romance, a collection of heartthrob tales from Simon and Kirby (see my review). Myself, I might well go for the fourth volume of Torpedo, Jordi Bernet’s grim and gritty (and blackly humorous) gangster series.

Batwoman #6

Michael May

If I had $15, I’d start with the two, female Bat-heroes, Batgirl #6 ($2.99) and Batwoman #6 ($3.99) and the tangential Bat-heroine, Huntress #5 ($2.99). Rounding out my must-reads is Frankenstein, Agent of SHADE #6 ($2.99), but I’d also pick up Demon Knights #6 ($2.99), a comic that stays good enough to keep me interested if not overwhelmingly excited. The pin’s awfully close to the bubble on that one for me, but I’m still on board for now.

If I had $30, I’d add some more expensive comics starting with Conan the Barbarian #1 ($3.50). I switched to trade-waiting Dark Horse’s Conan comics a long time ago, but I’m as curious as everyone else about the Wood/Cloonan team on this. I’m also fascinated enough by Richard Corben’s work to want to try out his fantasy one-shot, Murky World ($3.50). I also have it on good authority (Diamond shipping list be damned) that the delayed Atomic Robo and the Ghost of Station X #5 ($3.50) is also coming out this week, so that’s good news. And finally, I’ve enjoyed the few episodes of Adventure Time I’ve seen, so I’d also like to pick up Adventure Time #1 ($3.99) from Boom!.

My splurge this week is another item that hasn’t been verified by Diamond, but it’s shown up on my LCS’ invoice, so I expect Jason’s Athos in America ($24.99) to be on the shelf tomorrow. Jason’s stuff is always awesome and this sort-of prequel to The Last Musketeer should be no exception.

Check out Diamond’s release list or ComicList, and tell us what you’re getting in our comments field.

John Romita's The Amazing Spider-man: Artist's Edition

Graeme McMillan

Congratulations, Dark Horse: You pretty much own my first $15 for the week, with Dark Horse Presents #8 ($7.99) and Star Wars: Dawn of The Jedi #0 ($3.50) both being my go-to new releases for the week. DHP has the new Brian Wood/Kristian Donaldson series The Massive launching, as well as more Beasts of Burden by Evan Dorkin and Jill Thompson and new Skeleton Key by Andi Watson, which is a pretty spectacular line-up, and the new Star Wars book coincides with the latest flare up of my irregular longing to check up on that whole universe’s goings-on. Apparently, I’m keeping it local this week, who knew?

If I had $30, I’d add Action Comics #6 (DC Comics, $3.99) and OMAC #6 (DC Comics, $2.99) to that pile — I’m particularly treasuring the latter before it goes away, although I have to admit that the time-jumping nature of these Action fill-ins has gotten me more excited than I should ‘fess up to — as well as a couple of Ed Brubaker books, Winter Soldier #1 (Marvel, $2.99) and Fatale #2 (Image Comics, $3.50). I wasn’t bowled over by Fatale‘s debut, but it intrigued me enough to want to give it another go, while the noir + super spy sales pitch for the new Marvel series pretty much guarantees my checking the first issue out at the very least.

When it comes to splurging, there is nothing I would buy – were I rich enough — more quickly than IDW’s John Romita Sr. Amazing Spider-Man Artist Edition HC ($100), because … well, it’s classic Romita as the pages originally looked on his drawing board. How anyone can resist that (other than the price point), I don’t know.

Action! Mystery! Thrills!

Chris Mautner

There’s not much I’m interested in at the $15 level this week, so I’ll likely keep it to the issue #63 of The Boys.

If I had $30, I’d put that issue of The Boys back on the shelf and pick up Action! Mystery! Thrills!, a colorful collection of comic book covers from the Golden Age edited by Greg Sadowski. It’s not as insightful as some of Sadowski’s other books like Supermen!, but it’s still a clever pop-candy tour through comics’ yesteryear.

Almost defining the term splurge this week is the Madman 20th Anniversary Monster, a $100 tribute to Mike Allred’s creation featuring new work by folks like Kyle Baker, Peter Milligan, Peter Bagge, Dave Cooper, Dean Haspiel, Paul Pope, Craig Thompson and many more. And a new Madman story from Allred. I doubt in reality I have the cash to justify this sort of purchase, but hey, I’m splurging, right?

Cross Game, Volume 6

Brigid Alverson

If I had $15, all but a penny of it would go to one book, vol. 6 of Cross Game ($14.99). Viz is releasing this baseball/drama series in delicious, double-sized volumes and the sweet story and easy-to-digest artwork make it one of my favorites.

If I had $30, I’d mix it up a bit with a stack of floppies: Ice Age: Iced In ($3.99), a lighthearted, all-ages comic from KaBoom; Sergio Aragones Funnies #7 ($3.50), because someone was just commenting on how funny Aragones is; Terry Moore’s Rachel Rising #5 ($3.99); and with what I have left, I’ll try out Dynamite’s Lone Ranger #2 ($3.99), which looks kind of cool. That’s a little over budget, but maybe I’ll get a deal on one of these.

Usually the splurge category is where I go for thick, colorful books of classic comics, and while that fourth volume of Dark Horse’s Archie Archives is calling out to me, this looks like a Fantagraphics week, with two compilations that span opposite ends of the love spectrum: Young Romance: The Best of Simon & Kirby’s Romance Comics ($29.99), and The Life and Death of Fritz the Cat ($19.99). That’s a whole lotta reading for $50.

Magic: The Gathering #1

Michael May

If I had $15, I’d start with a series I’m following that has a new issue this week, Fear Itself: The Fearless #8 ($2.99) and then I’d add some new things I want to try. I’ve said before that Winter Soldier #1 ($2.99) is the closest thing we’re going to get to a Black Widow series for a while, so — while that’s sad — I’ll take it. I’m also cautiously curious about Image’s nasty-sounding Alpha Girl #1 ($2.99) and Zenescope’s Jurassic Strike Force 5 #1 ($2.99). I don’t have a lot of confidence in Zenescope’s brand, but dino-soldiers from space need looking into.

If I had $30, I’d add some more expensive comics to that pile, starting with Betrayal of the Planet of the Apes #4 ($3.99). I’m also looking forward to seeing if IDW can do the same thing with Magic: The Gathering #1 ($3.99) that they did with their Dungeons & Dragons comics (ie make it really good). Then I’d circle back to the Boom rack for Ice Age: Iced In ($3.99) – because my son loves those movies and will love that comic – and check out Dynamite’s John Carter/Gullivar Jones mash-up, Warriors of Mars #1 ($3.99).

If I’m able to splurge, I’m always interested in the new Dark Horse Presents ($7.99), but especially when it has new BPRD and Beasts of Burden stories. And since that’s not a huge splurge, I’d also grab the Xombi collection ($14.99), which coincidentally comes out the same day as Static Shock #6.

DC Comics: The New 52

When the 2012 Free Comic Book Day line-up was announced, some folks mistakenly assumed that gold-level offering, DC Comics: The New 52 Special Edition would simply be a reprint of previously published material. As revealed on The Source today, that’s not the case.

The comic will feature “art by legendary illustrator Jim Lee and other top talents” and will “include a new story by New York Times bestselling writer Geoff Johns.” In addition, the book will also include previews of DC’s second wave of New 52 titles, including Batman Incorporated, Dial H, Earth 2, G.I. Combat, The Ravagers and Worlds’ Finest. They also say to stay tuned for “more surprises to come.”

In addition, the Free Comic Book Day site also has more information and a preview from Image 20, the 20th anniversary anthology of “six, all-new original stories promoting upcoming Image Comics titles.” Two of the titles will be Revival by Tim Seeley and Mike Norton, which you can preview on the site, as well as G-Man by Chris Giarrusso. The other stories will be announced at a later date.

The FCBD site also has previews from several other FCBD titles, including Oni’s Yo Gabba Gabba and Bad Medicine titles, and Viz’s Voltron Force, among others, so head over there if you want to check them out early.

Update: Apparently I misread the initial post and thought Jim Lee was drawing the new Geoff Johns story, but based on Brian Hibbs’ response in the comments section below, that may or may not be the case. I’ve updated the post above.

Jerusalem

Awards | The gold medal for Best Graphic Album at the Angoulême International Comics Festival went to Guy Delisle for Jerusalem, and the jury awarded a Special Prize to Jim Woodring for his Congress of the Animals. Veteran French creator Jean-Claude Denis was awarded the Grand Prix de la ville d’Angoulême, so he will preside over next year’s festival, as Art Spiegelman did this year. Two manga won awards as well: Kaoru Mori’s A Bride’s Story won the Intergenerational Award, and Yoshihiro Tatsumi’s autobiographical A Drifting Life received the World Outlook Award. The Heritage Award went to Glenat’s edition of Carl Barks’ Donald Duck. [Paris Match]

Conventions | New Orleans Comic Con, held over the weekend, receives plenty of coverage, with spotlights on Stan Lee’s panel, aspiring creators and cosplayers. [Reuters, The Times-Picayune]

Creators | Paul Hornschemeier has received the first graphic novel residency from the Columbus (Ohio) Museum of Art and Thurber House. The three-week residency, designed to help graphic creators develop a work in progress, includes a stipend and housing in an apartment near the boyhood home of James Thurber. [press release, via Comics Worth Reading]

Creators | Garth Ennis gives a brief interview on his plans for The Shadow, which he promises will continue to be “set firmly in 1938.” [ICv2]

Hell Yeah #1

Creators | Brian Truitt talks to Joe Keatinge about Hell Yeah, his new series about a world where ordinary mortals and superheroes live side by side; Truitt calls it “Keatinge’s blender of awesomeness, taking everything he loves about the medium and turning it up to 11.” [USA Today]

Creators | Gene Luen Yang pays a visit to a manga club at a Gainesville, Florida, middle school [The Gainesville Sun]

Retailing | The local paper peers inside the door of Salinas, California, comic shop Current Comics and chats with the staff a bit. [The Salinas Californian]

Comics | Five artists give their take on superheroes in an art exhibit located, appropriately, in Riverdale, New York. [New York Daily News]

Comics | Joey Manley confesses that he took up cigar smoking at least in part because of the influence of comics. [Mr. Manley]

Merchandising | We had heard about the Wonder Woman lipstick, but it turns out that Smurfette and Hello Kitty have inspired lines of cosmetics as well. [The New York Times]

Eric Stephenson

“I think everyone has noticed that Marvel has started publishing a number of their books more than once a month. They’ve been ramping up on this for a while, and it’s something I’ve kind of shook my head at, because it’s a desperate ploy to gain marketshare that doesn’t promote sustainability on any level. It’s a cash grab, pure and simple, and when you couple that with the fact so many of their books are creeping up on $3.99, I shudder to think of the long-term effects.

“And I can hear you shaking your own head now. Okay, maybe I can’t hear you doing that, but I can imagine the chuckling: ‘Desperate? Marvel is the number one publisher in comics!’ – but I’ll stand by my words. When DC launched their new 52 last September, Marvel didn’t fight back with awesome. They fought back with the only real tool in their shed: more. They’re not increasing the frequency of their books out of generosity, they’re doing it to dominate the market. And in the absence of anything even resembling new, all we get is more.”

-Image Comics Publisher Eric Stephenson, discussing an email he received from a “prominent comic book retailer” about comic content, pricing and frequency. He goes on to talk about many of Marvel’s recent and upcoming event books, from Fear Itself to X-Men vs. Avengers, saying they are akin to a “bored child reaching into the toy box trying to find new ways to wring some meager enjoyment out of faded old playthings. The fun lasts for a little while, but you can only tell yourself something’s all-new and all-different so many times before those words ring hollow. Avengers vs. X-Men wasn’t a new idea when Marvel did it in 1987, and it’s not a new idea now.”

Prophet #21

In a now-deleted interview on Newsarama, Brandon Graham made some unflattering remarks about current Catwoman writer Judd Winick, noting, “It’s okay. DC’s not calling me anyway.” Which is kind of a shame, because after seeing the direction Graham went with Prophet, it would be fun to see him get his hands on Kamandi, OMAC or the Fourth World characters at some point and go nuts.

In any event, Prophet #21 sees Graham and artist Simon Roy give the 1990s Rob Liefeld/Stephen Platt comic an Extreme makeover, and they absolutely go nuts and have a lot of fun reinventing the book. So what did folks think of it? Here’s a smattering of reviews from around the ‘net:

Mark “Bad Man” McCann, Bad Haven: “This book carries on the numbering (#21) and indeed the legacy of a character born of the 90′s Image artist’s boom era, but sensibility wise this is an entirely new creature, that is if anything grounded firmly in a sort of euro indie. While Graham cites John Buscema’s run on Conan as one of his prime influences for the tone of this futuristic tale, with a scope that’s truly broader than the first issue can fully encapsulate (but not by much) it also has a feel of the work of Jodorowsky and Moebius at their collaborative best.”

Greg McElhatton, Comic Book Resources: “Prophet #21 feels like we’re reading the first chunk of the best French science-fiction graphic album that you’ve never heard of before. With a new setting and purpose, coupled with the character himself a bit of a blank slate, it’s a comic that is the perfect jumping on point. John Prophet himself is just as lost as we are on this future Earth, with alien monsters and civilizations, massive jellyfish cities and a mysterious mission. Graham has come up with all sorts of wonderful detail to explore, and does so at a leisurely pace. We not only get to see all of the tools that Prophet is carrying, but we learn about the biology of these strange creatures and get glimpses into their society.”

François Vigneault, Friend or Foe: “Graham et al have crafted a messy, dirty, and downright nasty sci-fi world, and the reader is tossed right into the mix with as little prior knowledge as the title’s eponymous hero, John Prophet. Emerging from a drill-tipped suspended animation pod, Prophet proceeds to vomit up a stimulant-filled pod, hack apart a five-legged predator, and chow down on his expired enemy, all without saying a word. Motivated by dreams, Prophet makes his way through a far-distant future inhabited by a mix of new lifeforms, like the already mentioned tulnaka and the hiber xull, a massive fish-like creature, and familiar, but disturbingly mutated animals, like wolves with parasitic growths and a whole colony of alien settlers. This is a post-human environment, where mankind has been reduced to the level of a farm animal, as Graham writes “The old land is harsher, now. Unforgiving.” There are echoes of Planet of the Apes, but also After Man by Dougal Dixon and the ecological invasion themes of the War Against the Cthorr series by David Gerrold; this is a world where superhuman strength and an enhanced digestive track aren’t the makings of a super hero, but basic equipment that’s required for survival.”

Brian Cronin, Comics Should Be Good: “That said, ‘I can’t wait to see more’ is the right phrase here, as this issue served mostly as set-up for the future – introducing the concept (which is that John Prophet has come out of hibernation on a mission to win Earth back for humanity) and sending John off on his journey (there’s even a map in the comic, which is very cool), so that’s even more impressive about the issue – it was a good comic book and this was mostly all just SET-UP! Once the execution starts to kick in this will likely be an amazing comic book.”

Russ Burlingame, ComicBook.com: “The relentless roller coaster of strange-cool-gross-confusing-awesome makes reading the issue a pleasure, and infuses not just Prophet but the entire Extreme relaunch with the kind of energy and promise that’s rare in any art form, let alone one that generally plays things as safe as mainstream comics. Prophet is born of the same sense of wonder that allows DC and Top Cow to blow up their continuity and start over again. It’s an adventurous spirit that’s worthy of an industry and an art form that’s in flux, close to finding its identity for the next generation but not quite there yet.”

Paul Montgomery, iFanboy: “This one clobbered me over the head. Weird science fiction with a big W. This one’s gonna keep me warm in the absence of Orc Stain, and I’m pretty excited about the roster of artists set to guest on the book. Ignore the number on the cover and get ready to ride out the beginning of the world’s end.”

Megaupload

Legal | The U.S. Justice Department and the FBI on Thursday shut down the popular file-sharing site Megaupload, seized $50 million in assets and charged its founder and six others with running an international enterprise based on Internet piracy that’s cost copyright holders at least $500 million in lost revenue. The FBI has begun extradition proceedings in New Zealand to bring company founder Kim Schmitz, aka Kim DotCom, to the United States. He and three other associates are being held without bail until Monday, when they’ll receive a new hearing. Three others remain at large. They face a maximum of 20 years in prison.

News of the shutdown was met with retaliation by the hacker collective Anonymous, which attacked the websites of the Justice Department and the Motion Picture Association of America.

Founded in 2005, Megaupload allowed users to anonymously transfer files like movies and music and, certainly on a much smaller scale, comic books. The Hong Kong-based company, which reportedly employed as many as 155 people, is said to have made $175 million from ads and premium subscriptions. According to the indictment, DotCom, whose assets apparently include a fleet of cars, took in $42 million from the operation in 2010.

Before Megaupload was taken down, the company posted a statement on its website claiming that allegations it facilitated massive breaches of copyright are “vastly overblown”: “The fact is that the vast majority of Mega’s Internet traffic is legitimate, and we are here to stay. If the content industry would like to take advantage of our popularity, we are happy to enter into a dialogue. We have some good ideas. Please get in touch.” [USA Today, The New York Times, CNET]

J.M. DeMatteis

Piracy | In response to recent conversations about the Stop Online Piracy Act, comics writer J.M. DeMatteis shares his thoughts on comic book piracy: “The bottom line — my bottom line, anyway — is this: If you’re enthusiastic about a particular creator, buy his or her work and then let others know about it. If you spread the word via file-sharing, it’s not much different than loaning a friend one of your books or CDs. Just as I once became an obsessive fan after taping my friends’ vinyl albums, many of your friends will become fans who’ll spend their hard-earned money on actively supporting that creator’s work.” [Creation Point]

Creators | Lynda Barry will be the spring artist in residence at the University of Wisconsin-Madison. [University of Wisconsin-Madison News]

Creators | Movie producer and former Marvel Studios President Avi Arad chats briefly about his new manga The Innocent: “I’ve been in the world of comics all my life, and specifically into Japanese comics in the early days, before manga attempted to penetrate this market. I wanted to do The Innocent a long time ago. It stayed with me quite a while. Once I got out of Marvel Comics, it was one of the things on my bucket list to do a manga. I had an idea and I followed it, and here we are.” [Graphic Novel Reporter]

Dancer #1

Creators | Nathan Edmondson discusses Dancer, his upcoming Image Comics miniseries with artist Nic Klein about a retired assassin and his ballerina companion on the run from a sniper in Milan. [USA Today]

Creators | Jennifer Anderson spotlights Oil & Water, the new Fantagraphics graphic novel by Steve Duin and Shannon Wheeler that examines the impact of the BP/Deepwater Horizon oil spill on the Gulf. [Beaverton Valley Times]

Creators | Collaborators Kurtis J. Wiebe and Tyler Jenkins talking about their upcoming Image/Shadowline series Peter Panzerfaust, which reimagines Peter Pan and the Lost Boys as Nazi resisters during World War II. [USA Today]

Publishing | Dave Ferraro and Patrick Markfort discuss the small publisher Sparkplug in their latest podcast. [Comics-and-More]

“It’s a shame these pages were made public. This project isn’t currently on the schedule, and honestly, it may never be on the schedule. Things are announced when they’re announced for a reason, and believe me, if we actually had a new Warren Ellis project ready to go, we would announce it. Right now, these are just some drawings for something that will likely never be,” Stephenson said.

Original post:

First rumored back in August 2011, we now have our first glimpse at Warren Ellis’ next major creator-owned book Elektrograd. Published on artist Ryan Bodenheim’s DeviartArt page, this five pages show … well … see for yourself below.

Bodenheim is best known for his collaboration with Jonathan Hickman on the Image series Red Mass For Mars, who he is re-teaming with in the just-announced mini ongoing The Secret.

According to Rich Johnston, Elektrograd is planned for release by Image, but won’t be “officially” announced until the project is complete. Earlier this year Marvel Editor-In-Chief Axel Alonso told CBR Ellis was taking a “breather” from the publisher for the year, but this new art lets us know Ellis isn’t stepping away from comics entirely.

Prophet #21

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.

Check out Diamond’s release list or ComicList, and tell us what you’re getting in our comments field.

Graeme McMillan

If I had $15 this week, I’d avoid Marvel and DC altogether and go for some more independent offerings. Top of the pile would definitely be Prophet #21 (Image, $2.99), Brandon Graham’s much-anticipated revamp of the Rob Liefeld book from the mid-90s, recreated (with artist Simon Roy) as some kind of Heavy Metal fever dream; I’m a massive fan of Graham’s, and excited to see what he can come up with when he tries to play it (relatively) straight. I’d also grab Dynamite’s Kirby Genesis: Dragonbane #1 ($3.99), another spin-off from the Busiek/Ross/Herbert series this time focusing on the almost Thor-analog warrior, and IDW’s Memorial #2 ($3.99), continuing the urban fantasy series that I enjoyed so much last month. Lastly, I’d grab the cheap relaunch for Antony Johnston’s Wasteland (#33, Oni, $1.00); I’ve really enjoyed this post-apocalyptic world building book for awhile, but this relaunch – which will return the book to a monthly schedule as well as debut new artist Justin Greenwood – looks set to be a good jumping-on point for those who’ve never sampled its charms before.

If I had $30, I’d be likely to put Dragonbane back on the shelf and try out Marvel’s Fear Itself: Journey Into Mystery Premiere HC collection ($19.99) instead. Not having been a fan of Matt Fraction’s Thor, I skipped the first few issues of this and then, by the time I kept hearing great things and realized I actually really enjoy Kieron Gillen’s writing, it was far enough into the run that I knew I’d end up waiting for the collection. Color me cautiously optimistic.

When it comes to splurging, my love of comics from around when I was born rears its ugly head again, and I find myself drawn to Marvel Firsts: 1970s Vol. 1 TP (Marvel, $29.99). This is possibly my favorite era from the House of Ideas, so the idea of an anthology of some of its weirdest hits sounds right up my alley.

Kramers Ergot 8

Chris Mautner

If I had $15, I’d join the crowd and put $3 for that new, Brandon-Graham version of Prophet. I’ve yet to read King City (I know, I know) and I know nothing about the Prophet character, but I like the little bit of Graham’s work I’ve been exposed to so far and I’m curious to see how he handles this type of sci-fi/superhero tale.

If I had $30, I’d put back Prophet, snatch an extra $3 and change from my wife’s piggy bank (shhh, don’t tell her) and nab the eighth volume of Kramers Ergot, the latest edition of the mind- and genre-bending, cutting edge anthology from editor Sammy Harkham (this time published by Picturebox). This one runs a bit counter to past Kramers. It mainly features longer, more direct stories in a smaller, more standard book-size format. Contributors include CF, Gabrielle Bell, Dash Shaw, Frank Santoro, Gary Panter, Chris Cilla and others. Oh and there’s a generous helping of “Oh Wicked Wanda,” Penthouse’s answer to Little Annie Fanny for those who care to remember it.

My splurge this week would probably be Bill Griffith: Lost and Found, an “odds and sodds” collection of work by the Zippy creator, mostly done prior to that strip’s creation. I’m not actually certain what’s included in this book, but a good deal of Griffith’s non-Zippy material is pretty great, even better than the strip in some cases.

Batman #5

Chris Arrant

If I had $15, I’d lead off this week’s haul with my most anticipated book in some time: Prophet #21 (Image, $2.99). I am an immense fan of Brandon Graham’s work, so seeing him segue into writing is interesting… but I also admit to being a fan of Prophet. I remember trying to draw like Dan Panosian did in an early issue of this title. Next up would be Uncanny X-Force #20 (Marvel, $3.99), for Remender, for incoming artist Greg Tocchini, for X-Force, and for the entrance of Captain Britain. Rounding my Marvel haul would be Daredevil #8 (Marvel, $2.99); excited to see guest artist Kano on this. Last up for my $15 haul would be Batman #5 (DC, $2.99); on paper I like Wonder Woman more, but when it comes down to it I’m more enjoying Snyder and Capullo’s story in this. Oh wait, I have some money laying around… Wasteland #33 (Oni, $1) is it for a dollar.

For $30, I’d double back and get Wonder Woman #5 (DC, $2.99); for me, Azzarello’s story seems like a slow burn and I’m hooked in. I’m interested to see how Tony Akins handles filling in given Cliff’s one-of-a-kind art. Next up I’d get a Marvel 3-pack: Avengers #21 (Marvel, $3.99), Avenging Spider-Man #3 (Marvel, $3.99) and Uncanny X-Men #5 ($3.99). Then finally, I’d get my second $1 book of the week, Lord of the Jungle #1 (Dynamite, $1.00). More books should consider going their first issues at $1, especially ones that are lesser known and less likely to be tried.

For my splurge, I’d happy fork over the bills for Steve Canyon HC Vol. 1: 1947-1948 (IDW, $49.99). Milton Caniff is a titan, and being able to read the previous Terry & The Pirates collections and then lead into this, in the original order they were published, is amazing; it’s like being there to see how Caniff developed.

Planet of the Apes #10

Michael May

If I had $15, I’d make it unanimous by also grabbing Prophet #21 ($2.99). Brandon Graham is always interesting, but I’m in it as much for Simon Roy’s art as Graham’s story. I had the pleasure of working with Roy on an extremely short story for Panels for Primates and he’s an awesome artist. Then I’d grab a bunch of superheroine comics that I’m enjoying: Wonder Woman #5 ($2.99), Supergirl #5 ($2.99), Birds of Prey #5 (2.99), and Fear Itself: The Fearless #7 ($2.99) featuring Valkyrie.

If I had $30, I’d quickly add Planet of the Apes #10 ($3.99) to that pile and try to think of new adjectives to convince more people to read it. Speaking of primates, I’d also check out Dynamite’s Tarzan of the Apes adaptation, Lord of the Jungle #1 ($1.00). After that, I want to see what’s up with Danger Girl: Revolver #1 ($3.99). I’ve never read a Danger Girl comic, but it sounds like the kind of thing I’d enjoy. Jumping into IDW’s new mini-series is a cheaper way to try it out than getting one of the collections and catching up. Finally, I’m curious about the reprint of Grant Morrison’s Steed and Mrs. Peel #1 ($3.99) from Boom!. I don’t know much about the TV Avengers, but I dig groovy, ’60s spy adventures.

If I only had a little to splurge with I’d check out Danger Girl: Danger-Sized Treasury Edition ($9.99), but I’m hoping for a nice windfall so I can join Chris A in Steve Canyon, Volume 1: 1947-1948 ($49.99). I’ve read some of those stories from when Checker reprinted them and they’re cool enough that I want them in the nice hardcover.

Jennifer de Guzman

As we reported this morning, longtime editor-in-chief Jennifer de Guzman left SLG Publishing Friday after 10 years with the company. It’s now known that she began work today as Image Comics’ new PR and marketing coordinator.

Sarah deLaine, who was promoted to that position a year ago, has been named Image’s event coordinator.

“My decade [at] SLG was, I suspect, like no other decade anyone has spent working anywhere,” de Guzman wrote on her blog. “I had great co-workers and got to work with fantastic creators, all of whom I will miss very much. (Though because this is comics and a community like no other, we will always stay in contact.)

An award-winning writer who contributes graphic novel reviews and articles to Publishers Weekly Comics Week, de Guzman was named Friends of Lulu’s 2006 Woman of Distinction. She and husband Brian Belew also collaborated on a series of comics/columns for Robot 6 in 2009.

And the Liefeld-created Extreme Studios properties have returned to Image Comics, which is launching continuations of several of the books as part of an ambitious resurrection of Liefeld’s early-’90s characters.

And here’s the weird thing — the two aren’t connected.

Liefeld’s monthly book is DC’s current volume of Hawk and Dove*, a perennial lower-tier property conceived by artist Steve Ditko in the late 1960s. One of Liefeld’s first big breaks was a penciling gig on a Hawk and Dove series in the late ’80s, and DC has kept the characters around in one book or another almost ever since.

The Extreme Studios books are being published by Image, the company Liefeld helped found, and his characters were a part of its initial success.

I’m not complaining. Despite being square in the proper age demographic when Image was founded, I never cared for Liefeld’s design, rendering or storytelling — in fact, of the founders, Todd McFarlane’s was the only work Teenage Caleb enjoyed, and that was in part because of how much it reminded me of the Batman comics of the day.

By having people who aren’t in any way, shape or form Rob Liefeld, including creators whose art doesn’t seem noticeably inspired by Liefeld, work on the old Liefeld properties, the Image initiative seems less like nostalgia than some sort of exciting experiment.

Did people once embrace characters like Supreme, Glory and the members of Youngblood because they were created, written and drawn by Liefeld, or is there something in them that can exist and can flourish in different ways completely divorced from their creator?

What becomes of a Liefeld comic when you take Liefeld out of it?

(I fully realize, of course, that this isn’t a unique experiment, even if the specific parameters are. Creators with vastly different talents, styles and ambitions have been taking the creations of others in different directions almost as long as there have been comic books and, in fact, it’s become the hallmark and lifeblood of superhero comics since at least the Silver Age. I think it’s one of the more fun things about superhero comics, seeing how different artists draw Batman or write Captain America or whatever.)

I applaud Liefeld and the folks at Image for choosing such distinct, fresh and, um, talented talents as well, including King City’s writer/artist Brandon Graham as the writer of Prophet and Ross Campbell as the artist for Glory, the first of the new Extreme books I’ve taken a look at.

Glory was created in 1993 as a sort of bad-girl clone of Wonder Woman (or, to put it slightly more generously, as a bad-girl analogue of Wonder Woman). She was the warrior royalty of a tribe of Amazonians — not Amazons — who left her world to become a kick-ass superheroine on Earth.

She had the improbable, somewhat deformed extreme Barbie-doll body of Liefeld’s ladies of the ’90s:

That alone made the fact that Campbell would be drawing a book featuring her something worth paying attention to.

Campbell’s an incredible talent whose work I’ve been enthusiastic about ever since I encountered it in Tokyopop zombiepocalypse story The Abandoned. He’s also responsible for the drama Wet Moon and monster-superhero series Shadoweyes, and drew the book Water Baby for DC’s short-lived Minx imprint.

One particularly noteworthy aspect of his work is how good he is at drawing women, and the fact that his women come in all shapes and sizes, like real women. His female characters can be thin little waifs or zaftig plus-size gals, or, as in the case of his Mountain Girl, huge, hulking ladies that a college football team’s defensive line would have a hard time tackling. He also is particularly skilled at making his female characters look incredibly sexy — or charming, or repellent, depending on their character traits and role in the story — no matter what size or shape he’s drawing them in (particularly in his early work; he seems to have toned down the sexualization a bit of late).

So I was eager to see Campbell’s version of Liefeld’s Glory.

His is, no surprise, quite different from Liefeld’s. She’s built big, solid and muscular, something between the sort of woman R. Crumb grew famous for drawing and an Olympic athlete and a medieval castle wall. She has the same signifiers as before, including long white hair — colored so as to look luminescent, so there’s a sharp contrast between her and the white-haired Superman clone/analogue Supreme in the scene they share — and she still wears the same colors, although they are much less bathing suit-like and more ancient warrior-like (tracking a similar evolution of Wonder Woman’s garb from the ’90s through the post-Xena current Wonder Woman).

Campbell gives her a bit of a baby face, particularly in the scenes set when she was young (for her), but she’s an imposing figure; if Liefeld’s Glory looked like a Barbie doll, Campbell’s is closer to He-Man.

That she looks so different is fitting too in that it accentuates her alien-ness to the rest of the world, the “real” world the book is set in. Campbell ramped up the alien nature of the various monsters and demons as well (Glory is half-Amazonian, half-demon), so they are particularly grotesque, and detailed in their grotesquerie.

It can be exceptionally difficult to judge first issues given the tendency for comics to be created for arcs and storylines, so it’s the visuals of a first issue like Glory that stand out. On that end, not only is the new Glory a sucker punch in the face, it’s a knockout.

The story, written by Joe Keatinge, is packed quite full, including an origin story, a sort of on-the-fly recap of Glory’s history in the world, the introduction of several other characters and a suggestion of a new direction — complete with surprise cliffhanger.

Born of a union between the warring Amazonians and Demons, Glory is trained to be the ultimate warrior, a sort of deterrent to the two sides breaking their peace pact — if one does, she’ll kick all their asses.

Bored, she comes to earth during World War II to punch out tanks and tear Nazis apart like tissue paper, and sticks around as a superhero for a long time, before ultimately disappearing. A young woman haunted by dreams of Glory tries to track her down … or at least discover whatever became of her.

Keatinge doesn’t play down the Basically Wonder Woman, But More Hardcore aspects of the character — which is fine; Alan Moore had great success playing up the Basically Superman aspects of Supreme — and, oddly enough, before story’s end it seems to draw as much inspiration from Promethea as it does Wonder Woman. Or perhaps not so oddly — Moore briefly wrote Glory before going on to create Promethea with J.H. Williams III.

As I say, it’s still too early to tell where the story is going, but it starts in a very interesting, very different place, with Ross Campbell’s Rob Liefeld’s characters and concepts. In that respect, it’s already an incredibly interesting and — I’d say — successful experiment.

*This was written before today’s announcement that Hawk and Dove would be getting the ax, along with five other DC “New 52″ titles. Maybe Liefeld will be working on Extreme books for Image in the near future after all now …

Legal

Legal | A teenager was sentenced Monday to seven years in prison for his role in the July 2010 theft of a valuable comic collection from an elderly Medina, New York, man, who later died of a heart attack. Eighteen-year-old Juan C. Javier, who pleaded guilty last fall to attempted second-degree burglary, is one of seven people whom police say were hired by businessman Rico J. Vendetti to break into the home of Homer Marciniak to steal his comics. Marciniak, 77, awoke during the burglary and was beaten, suffering only cuts and bruises. However, he had a fatal heart attack later that day. Eight people, including Vendetti and Javier, were indicted in November 2010; the indictments were dismissed against four of the accused so the U.S. Attorney could charge them with murder under federal law. [The Daily News]

National Cartoonists Society

Awards | Michael Cavna talks with National Cartoonists Society President Tom Richmond about the addition of the Online Comics Strips category to the prestigious Reuben Awards: “This is definitely a “first step” in recognizing online cartooning in the NCS divisional awards. It’s been discussed and explored for several years, and there are a lot of challenges involved. I picked the brains of several big names in online comics, and worked with the board to try and come up with criteria for eligibility that were in keeping with the other divisions and the NCS rules. This is what we came up with.” [Comic Riffs]

Digital comics | Comics and religious apps account for the 10 top-grossing iOS book apps this week. [eBookNewser]

Digital piracy | Bryan Young consider who should shoulder the blame for comics piracy: “Comic publishers need to understand why people are doing it and address the issues. People are pirating these comics, right or wrong, because they don’t believe they should be paying the same price as for a print copy of a comic. It’s as simple as that. The average comic book, in print or digital, costs about $2.99 per issue. With print, you have printing costs, shipping costs, wholesale costs and everything else to contend with to turn a profit. It makes sense that they’re priced the way they are. But a digital comic? Digital comics have far less overhead.” [City Weekly]

Thief of Thieves #1

Creators | Entertainment Weekly chats briefly with Robert Kirkman about Thief of Thieves. [Shelf Life]

Creators | Young artists should have a five-year plan, Sean Gordon Murphy firmly believes, rather than sitting around tweeting and waiting to be discovered. He offers some concrete steps, some of which are counterintuitive: “With a little bit of effort, could you write a C+ story? Of course you could! C+ is better than most comics. We deal in an industry where characters fight crime in their underwear — don’t be intimidated into thinking you couldn’t put together a half decent script if you tried.” Writing is not only an asset for the beginning artist, he points out, it also helps them become planners. [deviantART]

Comics | Oliver Sava considers what makes a good all-ages comic: “The best titles have elements adults can latch on to as well. Roger Langridge’s The Muppet Show is one of the best humor comics published in the past decade, using the comic-book form to capture the spirit and energy of the television series. Each issue has an overarching plot broken up by one- or two-page comic strips depicting the show’s different sketches, and Langridge’s experience with adult humor on titles like Fred The Clown keeps the jokes from being too infantile.” [The A.V. Club]

Justice League #4

Publishing | Number-crunching the direct-market charts, John Jackson Miller determines that sales of comics ranking in Diamond’s Top 300 increased by more than 3 million copies in 2011, bringing the total to 72.13 million. Dollar sales, too, rose by nearly $3 million, even as the average price of comic dropped by about a dime, from $3.58 to $3.49. [The Comichron]

Creators | Artist Fiona Staples has responded to Dave Dorman’s objection to her cover for Saga #1, which shows a woman breastfeeding an infant: “I find it a little hard to fathom why anyone would object to a depiction of breastfeeding, even if it were on a kids’ comic, which it isn’t. I have yet to hear a line of reasoning that makes sense to me. That said, anyone who wants to be grossed out by our comic is of course free to do so. I’m just going to fixate on the part where a master painter called me a ‘gifted artist.’” [ComicsAlliance]

ComicsPRO

Awards | The retailers association ComicsPRO has announced the nominees for its Industry Appreciation Award and the Industry Appreciation Memorial Award, which recognize individuals who have contributed to the success of the direct market: Cindy Fournier, David Gabriel, Robert Kirkman, Eric Stephenson and Bob Wayne. [press release]

Publishing | Valiant Entertainment, which in July announced the return of Valiant Comics, has signed an exclusive worldwide distribution deal with Diamond Comic Distributors and Diamond Book Distributors. [press release]

Creators | Kaiser Health News interviews MIT economist Jonathan Gruber — wait, why is this in Comics A.M.? Oh, yeah, because Gruber is the writer of the graphic novel Health Care Reform: What It Is, Why It’s Necessary, How It Works, which is that rare book that spoils the ending in the title. Artwork by Nathan Schreiber gives it some serious comics cred. [Kaiser Health News]

Creators | Lauren Davis has a fascinating interview with Achewood creator Chris Onstad, who recently brought his webcomic back from hiatus, about burnout, haters and the new things he has been trying lately, including a larger format to fit the new storyline. [Comics Alliance]

Gladstone's School for World Conquerors #1

Creators | David Harper talks to Mark Andrew Smith, writer of Gladstone’s School for World Conquerors, about his inspirations for the comic. I think Smith nails one of the best features of the book when he says, “I just like moments like these where we see supervillains being real people and doing things that normal people would do that we don’t get to see supervillains doing in other books. It’s great to pull back the curtain and see those moments of humanity there.” [Multiversity Comics]

Creators | This article on Kickstarter includes an interview with John Walsh, who recently raised $5,800 to support his webcomic Go Home Paddy. [Boston Herald]

Review | Larry Cruz reviews the intriguing webcomic Power Nap, about a future society in which drugs have eliminated the need for sleep — except for the one guy who is allergic to them. [The Webcomic Overlook]

Saga, by Brian K. Vaughan and Fiona Staples

“It seems that in today’s desperate-for-sales comic book market, nothing is sacred. In the midst of world-saving adventures, today’s modern heroine breast feeds her child with zero modesty. Talk about work-life balance! It hearkens back to those Enjoli fragrance TV ads of the ’70s — I can bring home the bacon, fry it up in the pan, and never, never let you forget you’re a man…”  I’m just so impressed with this I-can-have-it-all super heroine. I had to wonder, did La Leche League (or as my wife took to calling them after she delivered our son,  ‘The Breast Milk Mafia’) pay big-time sponsorship money for this cover? What a wholesome, family-friendly image!

I find this image offensive, not only for promotion of a comic book, but specifically for a comic that Brian clearly states that he would like to see today’s younger generation pick up and read as he did when he was kid. Rather than a family-friendly heroic saga, this promo art is telegraphing to the world that it’s a series I cannot share with my 7-year-old son. Is the comics industry really so dead that they have to stretch to these desperate, shock value measures to incur readers? Really?”

– artist David Dorman, attempting to explain “Why Dave Dorman Finds New Image Comic Saga Offensive,” but not exactly succeeding. While he has insisted on Twitter (three times now) that he isn’t offended by breastfeeding, nor it turns out by “boobs” — “I paint boobs on canvas for a living” — Dorman has yet to elaborate on what makes the above promotional image for Brian K. Vaughan and Fiona Staples’ mature readers sci-fi/fantasy epic offensive, unwholesome, or emblematic of “desperate, shock value measures” used to rope in readers.

There’s nothing titillating about Staples’ image; for all its fantasy trappings, it’s incredibly understated … casual, even. To be honest, it didn’t even register with me that it depicted breastfeeding until I read Dorman’s rant. Heck, ram’s horns and gossamer wings aside, I’ve encountered virtually identical scenes in cafes, movie theaters and public parks — all with minimal offense.

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]

Fatale #1

Fatale #1 arrived on Wednesday, created by the Criminal and Incognito team of Ed Brubaker and Sean Phillips, with colors by Dave Stewart. The supernatural crime story features a modern-day reporter who “stumbles on a secret that leads him down the darkest path imaginable” — into a world of dames and demons.

Brubaker and Phillips have proven to be one of the best teams working in comics today, so this one comes with some high expectations. Did it meet them? Here are a few opinions from around the internet:

David Brothers, ComicsAlliance: “Crime and horror are two genres that don’t generally associate with each other, although they do share a few similarities: sudden bursts of violence and an exploration of something that is wrong at the deepest level. Fatale is more crime comic than horror comic, but it’s the horror touches that make this issue such a treat to read. It succeeds because where crime comics zig, horror comics zag.”

Alan David Doane, Trouble with Comics: “The first-person narration of main character Nicholas Lash feels comfortable and intimate, but the strange things that begin to happen to him unfold so quickly that you’re as disoriented as he is by the way the world turns out from under him. As he immerses himself in a story-within-the-story in the form of a previously unknown manuscript brought to him by a beautiful and mysterious woman who may be much more than she suggests. The scenes depicted from the manuscript really give Phillips a chance to show what he can deliver, as we get a luminously noir scene-setting city street depiction so detailed and visually stunning that it’s also called-out for the issue’s back cover illustration. We see truly creepy thugs reminiscent of The Strangers in Dark City or The Gentlemen in the “Hush” episode of Buffy The Vampire Slayer, but by way of Herge’s Thomson and Thompson. Visually witty but still filled with horror and dread.”

Walter Richardson, Multiversity Comics: “Brubaker is, without a doubt, one of my favorite writers, and one of the first that I ‘followed’ when I got back into comics. I have to admit, though, that I look forward to each Criminal, Incognito, and Fatale just as much for Sean Phillips’s outstanding art as for Brubaker’s ice cool writing — perhaps, with no disrespect meant, even more. If you follow Phillips’ art blog, you have probably seen his life paintings, highlighting his attention to anatomy that is echoed in his published products. There is, of course, more stylization in his comics, but it’s never at the expense of the core human figure. What makes his style perfect, though, for the gutters of crime fiction that he tends to work in is his flawless attention to lighting. A lot of comics artists that try to reflect the high contrast world of film noir in their work can be prone to just slapping a bunch of black ink everywhere, with no attention to light sources and direction (apologies if my terminology isn’t correct, I’m a layman myself). Phillips’s art, though — while certainly dark and often heavy on the ink — is always shaded naturally. The shadows aren’t there for effect, they’re there because they would naturally be there. The pages in Jo’s bedroom, in particular, have some excellent use of light and shadow, and those pages alone are sufficient proof that Phillips just takes his job more seriously than a good deal of artists in the industry. I don’t mean to bag on those artists, of course — Phillips just has a dedication that few can match.”

Alex Evans, Weekly Comic Book Review: “I think some readers may wish that there weren’t so many mysteries or unanswered questions or that Brubaker advanced the plot a little more or made it a little more clear where we’re going or what exactly that plot is. While I can understand this, it doesn’t refute how much you get here. Few comics can so effectively balance smart, psychological character-work, replete with the Criminal-styled heart-straining, desperate, pained romantic narration, with such a healthy slab of the batshit crazy. Action, horror, and mystery/crime come together here in a way that’s simply exciting and bubbling over with creative potential.”

Paul Montgomery, iFanboy: “So, are we looking at a story closer to the style Criminal or Incognito? While the inclusion of supernatural elements might temp readers to position Fatale as the third arc of Incognito, there’s something a little more complex going on. It’s not as taut and well-written as last year’s terrific “The Last of the Innocent” storyline in Criminal, this story seems to be bridging the action/adventure and involving noir tones of its predecessors. Call it the happy medium. Neither as lean or as bombastic as it could’ve been. While characters like Jo and the spectacled Tweedle-Dee and Dum goons are all-too familiar, the story-within-a-story angle might prove for more nuance as the threads entangle themselves. And, as has even become cliche itself, it still holds true. Some cliches are cliches for a reason. There’s just something undeniably appealing about a dangerous woman with legs as long as her storied past.”

Erik Norris, IGN: Fans of Ed Brubaker and Sean Phillips previous collaborations should find a lot to like in Fatale. The book presents a great mystery, interesting characters and treads unfamiliar territory for the creative team involved. It’s Brubaker and Phillips stepping out of their wheelhouse, but they manage to do so with grace and focus that makes me excited to see the great things that come from future issues of the series. If Fatale #1 is your first foray into the works of Brubaker and Phillips, forgive the slower pace of this first installment, because if we’ve learned anything from this team, they always wind up delivering in the long run.

Richard Alf

Passings | Richard Alf, who as a teenager fronted the money for the first three years of San Diego’s Golden State Comic-Con, the annual event that later became Comic-Con International, passed away Wednesday from pancreatic cancer. He was 59. Alf, who co-chaired the first convention in 1970 and became chairman the following year, later opened Comic Kingdom in North Slope, a business he sold by the end of the decade. [U-T San Diego, Mark Evanier]

Conventions | iFanboy, San Francisco’s Isotope Comics and Grant Morrison are teaming up for MorrisonCon, which will feature “A once in a lifetime opportunity to see Grant Morrison and 9 hand picked comic creator superstars, all together for one weekend, one time only.” They’ve released few details so far, but the website says it’ll occur next fall. [MorrisonCon]

Awards | Comic-Con International is now accepting submissions for the 2012 Eisner Awards, which will be presented in San Diego in July. The deadline for submitting materials for consideration is March 6. [CCI]

Legal | Former comics retailer Michael George, who was convicted of the 1990 murder of his first wife and given a life sentence in November, has asked the judge to acquit him or order a new trial. George’s lawyer filed documents last week that claim there was weak evidence and improper tactics during his second trial. They also plan to appeal the case. [WDIV]

Dragon Lady Comics

Retailing | Toronto’s Dragon Lady Comics will close in early February after nearly 34 years in business, a move the store’s manager attributes to rising rent and slowing sales. [The Joe Shuster Awards, blogTO]

Creators | Brandon Graham delves into his process for Prophet, the upcoming Image Comics relaunch of the old Rob Liefeld property. [Warren Ellis]

Creators | Collaborators Shane Houghton and Matt Whitlock chat briefly about BOOM! Studios’ new Peanuts series. [LA Weekly]

Comics | Chad Nevett provides a supplemental reading list for the Joe Casey-written Vengeance, for anyone “wanting to know the background on various characters and concepts Joe Casey is using in that series.” [GraphiContent]

Justice League #1

Publishing | Four months in, the DC Comics relaunch seems to be a success. The most recent sales figures show Justice League #1 selling more than 360,000 copies since August, and Batman #1 and Action Comics #1 selling more than 250,000. By contrast, Marvel’s strongest seller was Ultimate Spider-Man #160, which was in the 160,000-copy neighborhood. These figures seem to reflect sales in the direct market only; it would be interesting to see how many digital copies have been sold. [The Hollywood Reporter]

Awards | Nominations are open for this year’s Eagle Awards. [Eagle Awards]

Retailing | San Francisco retailer Brian Hibbs shares the top-selling graphic novels in his store for 2011, by units and by dollars. [Savage Critics]

Retailing | Christopher Butcher looks back on the events of the past year in the comics store he manages, Toronto’s The Beguiling. [The Beguiling blog]

Commentary | Mike Gold explains why the Stop Online Piracy Act (SOPA) is a terrible idea. [ComicMix]

Comics | Enough with the best-of lists: Ron Richards presents his lovingly compiled list of the worst things in comics in 2011. His No. 1 point stands in stark contrast to The Hollywood Reporter piece: Overall, sales are dropping. [iFanboy]

Gingerbread Girl

Comics | Tom Spurgeon continues his holiday interview series, talking to Rina Piccolo, Steve Bissette, Colleen Coover, Todd DePastino and Robot 6′s own Chris Mautner. [The Comics Reporter]

Comics | The Houston Chronicle covers the arrival of its own local superhero, the Scarlet Spider. [Houston Chronicle]

Publishing | Jim Shooter recounts his time at Broadway Comics, as well as dealings he had with the World Wrestling Federation when Valiant had the rights to produce wrestling comics: “VALIANT, as you may know, was forced into a license to do WWF comics by my corrupt partner Steve Massarsky, who represented both Leisure Concepts International (the WWF’s licensing agency) and VALIANT. Can you say ‘conflict of interest?’ Massarsky made a ton of money personally by making a deal with himself with utter disregard for what made sense for VALIANT, and I was stuck with actually producing WWF comics.” [Jim Shooter]

Creators | Christopher Irving and Seth Kushner profile Legion of Super-Heroes writer and former DC Comics president and publisher Paul Levitz. [Graphic NYC]

Brilliant #1

Creators | This profile of Mark Bagley covers his entry into comics and his collaborations with Brian Michael Bendis on Marvel’s Ultimate Spider-Man and Avengers Assemble and their own Brilliant. [Creative Loafing]

Creators | Ron Marz reports he raised $500 last month for Toys for Tots by selling signed comics to fans. [Messages from Marz]

Creators | Guest-blogging for Whitney Matheson, Grace Bello interviews Tony Millionaire. [Pop Candy]

Creators | Kurtis Wiebe discusses Green Wake, The Intrepids and his new series Peter Panzerfaust. [The Outhouse]

Craft | Colorist Matt Wilson explains how he went about coloring a page of Wonder Woman #4 that presented some challenges. [SeeEmWhyKay, via Blog@Newsarama]

Commentary | Filmmaker and blogger Becki Burrows interviews Paul Gravett, author of many books on comics and graphic novels, most recently, 1001 Comics to Read Before You Die. [Paul Gravett]

Commentary | David Uzumeri makes the case for why The Flash is “the most visually inventive book of the [DC Comics] relaunch”: “The first hint of this came when DC began promoting the first issue’s title page the promotional rounds, an absolutely gorgeous piece of work that integrated the design sense of the logo into not only the artwork but the actual storytelling. Manapul drew Barry Allen disarming an army of mysterious sci-fi marines in a breathtaking clockwise sequence that was immediately readable despite its complexity, guiding the eye in a circle across a sequence where the Flash basically hands all of these dudes their butts in a series of small panels within the letters of his own name. Then it kept getting better.” [ComicsAlliance]

Commentary | Sean Kleefeld examines the world view of One Piece and wonders if some of the folks at the Occupy protests were there because of Luffy and the Straw Hats. [Kleefeld on Comics]

Review | Rob Clough reads Seth’s The Great Northern Brotherhood of Canadian Cartoonists. [The Comics Journal]

Bandai Entertainment

Publishing | The anime and manga company Bandai Entertainment will stop distributing new products in February, although its existing catalog will continue to be available until the licenses expire. The company will shift its focus to licensing its properties for digital distribution and merchandising. President and CEO Ken Iyadomi said the decision to shut down new-product operations was made by the Japanese parent company without his input, and he strongly implied the underlying problem was that the corporate parent wanted to charge more for its anime than the current market will bear. Bandai published the Lucky Star, Kannagi and Eureka Seven manga, among others; all new manga volumes have been canceled, which means Kannagi will be left incomplete, at least for now. [Anime News Network]

Awards | The finalists for the Cybils, the blogger’s literary awards for children’s and YA books, have been posted, and they include five nominations each in the children’s and YA graphic novel categories. [Cybils Awards]

Fatale #1

Creators | Frequent collaborators Ed Brubaker and Sean Phillips discuss their new horror-noir series Fatale, which debuts today. “You can scare people with a movie because you’re in control a lot more,” Brubaker says. “In a book, you’re making them imagine pictures, and it’s a different amount of control. With a comic book, it’s very hard to write something that puts people on edge. That’s an important thing: Let people know they have no idea what’s coming in this story and no idea what anything is going to be.” [USA Today]

Creators | Paul Grist digs into his new Image Comics series Mudman, whose fictional setting is inspired by his own town on the southwest coast of England. [USA Today]

Creators | King City writer and artist Brandon Graham talks about getting published, and names his favorite comics creators in an interview with David Harper. [Multiversity Comics]

Jerusalem

Creators | A Lebanese newspaper profiles cartoonist Guy Delisle, creator of Jerusalem: Chronicles from the Holy City. [The Daily Star]

Comics | Larry Cruz takes an affectionate look at Golden Age vamp Phantom Lady, a creation of the Eisner-Iger studio. [The Webcomic Overlook]

Commentary | Alan David Doane argues that Alan Moore’s veto of a reprint of 1963 is an argument for, not against, creator-owned comics. “But Moore, as an individual and as a comics creator, has more than earned the right to associate with, both personally and professionally, only those he chooses to associate with. He should not be forced into business contracts or personal relationships he does not wish to be a part of, and we should respect that.” [Trouble With Comics]

Critique | Domingos Isabelinho discusses the decision to re-color Donald Duck: Lost in the Andes, as well as some of the tropes that were left untouched. [The Hooded Utilitarian]

As noted in my interview earlier today with Eric Stephenson, Image Comics has several new titles hitting in early 2012 by some big-name creators–folks like Brian K. Vaughan, Fiona Staples, Ed Brubaker, Sean Phillips and Jonathan Hickman. Also arriving in early 2012 is a new book by two rising stars, writer Joe Keatinge and artist Andre Szymanowicz. Keatinge, who used to work for Image in a marketing role but left to pursue a writing career, and Szymanowicz, who has worked on Elephantman and Popgun, have teamed up to create Hell Yeah, the first issue of which comes out in March.

Keatinge spoke to our own Tim O’Shea about the concept not long ago: “The universe of Hell Yeah has been percolating in my head for a while. One of the first thing I thought of was superheroes being treated and named more like bands than typical super-teams. The first team name I thought was ‘The All-New All-Differents’, the second was ‘Hell Yeah For Justice.’ It struck me then that the name was the perfect embodiment of the book, especially since Hell Yeah For Justice is the group the series’ main character, Ben Day, will be hanging out with. So it was more organic, less market strategy. However, I will admit it makes for a pretty rad logo.”

Courtesy of Keatinge, we’re pleased to present an exclusive preview of Hell Yeah #1. You can see a different preview of it in Chew #23. Check it out after the jump.

*****

Solicitation information:

HELL YEAH #1
story JOE KEATINGE
art & cover ANDRE SZYMANOWICZ
MARCH 7
32 PAGES / FC / T+ TEEN PLUS
$2.99
THE LAST GENERATION OF HEROES IS HERE!
Twenty years ago, the first-ever superheroes debuted without warning and forever altered our global culture! Now, the generation born in their wake fight to claim their place in a world evolved beyond them! Written by Eisner & Harvey award-winner JOE KEATINGE and illustrated by ELEPHANTMEN and POPGUN’s ANDRE SZYMANOWICZ, HELL YEAH combines the over-the-top excitement of the original Image Comics launch with modern, innovative storytelling. It all begins with a giant-sized first issue containing a full thirty-two pages of story with no ads for the regular price of just $2.99!