NYCC PHOTO PARADE: Comics, Creators & Cosplay Collide on Thursday
Comic Books, Film, TV, Video Games, Digital Comics
Comics sales | ICv2 crunches the January numbers and calculates that just one comic, Batman #27, sold more than 100,000 copies in January, something that hasn’t happened since August 2011; this follows a weak December in which only three comics broke the 100,000 mark. The retail news and analysis site also lists the top 300 comics and graphic novels for the month. [ICv2]
Creators | Batman writer Scott Snyder talks about his plans for Batman #28, writing the Riddler, working with artist Greg Capullo on the action sequences, and getting ready for Batman’s 75th anniversary. [Hero Complex]
Creators | Eugenia Williamson profiles Shelli Paroline and Braden Lamb, whose work as artists on the Adventure Time comics has brought them an unexpected measure of fame. [The Boston Globe]
Controversy | Zainab Akhtar has a good roundup of the SodaStream controversy: A number of internationally known creators have protested SodaStream’s sponsorship of the Angoulême International Comics Festival because the soft-drink manufacturer has a factory in the Israeli-occupied West Bank. “All of Israel’s settlements in the Occupied West Bank are illegal under international law, and SodaStream’s factory in specific was build on land seized from several Palestinian villages in what is regarded as the largest single act of expropriation by the Israeli government in its 47-year long military occupation of the West Bank,” the organizers of the protest said in a statement. A number of artists, including Jacques Tardi (whose work was celebrated in a special exhibit at the show) have signed an open letter to festival organizer Frank Bondoux, asking him to end the relationship with SodaStream. Tardi also issued a statement saying he felt that he had been “taken hostage,” as he did not know about the sponsorship until the festival began. [Comics and Cola]
The second annual Locust Moon Comics Festival will be held in Philadelphia, with a larger space than last year’s showand more than double the number of creators. Hosted by Locust Moon Comics, the donation-based event offers no advance tickets; children 13 and under get in free. A portion of all donations will go toward helping the Jack Kirby Museum create a physical location.
Held at The Rotunda in West Philadelphia (4014 Walnut St.), the festival will include workshops and panels with an emphasis on independent and creator-owned comics. Local creators will off course be present, and Philadelphia residents like J.G. Jones (Final Crisis), Robert Woods (36 Lessons in Self-Destruction), James Comey (Donkey Punch) and Box Brown (Everything Dies) are all scheduled to attend. The event also includes guests from outside the city, though, so attendees can expect to see creators like Jim Steranko (Nick Fury: Agent of S.H.I.E.L.D.), Farel Dalrymple (Pop Gun War), Chrissie Zullo (Cinderella), Todd Klein (Fables), Dean Haspiel (Billy Dogma), Tom Scioli (Gødland), Michael Kupperman (Tales Designed to Thrizzle), Jay Lynch (Garbage Pail Kids), Kim Deitch (The Boulevard of Broken Dreams) and Ron Wimberly (Prince of Cats).
Some of the artists are offering festival-exclusive prints (like the Robert Woods poster accompanying this post), and Woods is also debuting his new book, 36 Lessons in Self-Destruction, the complete collection of his Depressed Punx minicomics.
Locust Moon also offers a far better standard of convention food with local vendors like Little Baby’s Ice Cream, Tacos Don Memo, Kung Fu Hoagies and Lovers & Madmen Coffee Lounge. While the festival itself takes place on Saturday, events and festivities at Locust Moon Comics will spill across the weekend, including a 36 Lessons release party and a post-festival pancake breakfast. See the festival’s website for more details.
At Comic-Con International in San Diego, IDW Publishing announced that Winsor McCay’s Little Nemo will return in a new series titled Little Nemo: Return to Slumberland, by Eric Shanower and Gabriel Rodriguez. As it turns out, there’s more to Little Nemo than just one new book.
Comics store turned small-press publisher Locust Moon is putting together an anthology of Little Nemo stories called Little Nemo: Dream Another Dream. Scheduled for release in 2014, the book has an eye-opening A-list lineup, including Peter Bagge, John Cassaday, Neal Adams, Bill Sienkiewicz, Becky Cloonan, Scott Morse, David Petersen, Mark Buckingham, Paul Pope and J.G. Jones. This book is a follow-up from the company’s anthology Once Upon a Time Machine, released last year by Dark Horse.
Little Nemo: Dream Another Dream will be published by Locust Moon as both a newspaper and a hardcover book, at the full size of the original Little Nemo pages — 16 inches by 21 inches. Described by Locust moon as a “love song for Winsor McCay, Little Nemo and the limitless possibilities of comics,” this is definitely one to watch. Here are several sample pages:
DC Comics has updated its New Frontiersman promotional website with a first, albeit small, look at interior artwork from Before Watchmen, the sprawling prequel to the seminal 1986 miniseries by Alan Moore and Dave Gibbons. The portfolio, featuring art by the likes of Lee Bermejo, Amanda Conner, Darwyn Cooke, Adam Hughes, J.G. Jones and Jae Lee, was shown Thursday at the Diamond Retailer Summit and Saturday at the “DC All Access: Before Watchmen” panel at Chicago Comic & Entertainment Expo.
As DC Comics’ Before Watchmen announcement rolls out from multiple news and entertainment outlets, so too do our first looks at covers for all seven prequels to the groundbreaking 1986 miniseries.
Okay, almost seven, as USA Today has only offered a detail of one of Lee Bermejo’s covers for Rorschach (at right), his four-issue miniseries with Luthor and Joker collaborator Brian Azzarello. To make up for it, though, there’s a cover by original Watchmen colorist John Higgins for a Crimson Corsair story by he and original Watchmen editor Len Wein.
We also have a Dr. Manhattan cover by Adam Hughes (courtesy of CBR), Minutemen by Darwyn Cooke (Hero Complex), Nite Owl by Andy Kubert and Joe Kubert (Heat Vision), Ozymandias by Jae Lee (Underwire), and Silk Spectre by Amanda Conner (Entertainment Weekly). UPDATE: Now, thanks to The New York Times, we also have one of J.G. Jones’ Comedian covers.
Check out the covers below. We’ll update if more, and in some cases larger, images become available.
UPDATE: DC Comics has released hi-res versions of each of the covers, which we’ve added below.
Note: The artwork originally accompanying this post has been removed following a cease-and-desist letter from DC Entertainment’s legal affairs department.
Any doubts regarding the accuracy of reports about DC Comics’ long-rumored plans for Watchmen prequels may have eroded over the weekend with the emergence of character art by J.G. Jones and Joe Kubert and Andy Kubert.
Bleeding Cool characterizes the illustrations of Nite Owl and The Comedian as cover art for the projects, purportedly being assembled under the code name “Panic Room,” but considering the characters’ names are written on the pages, it seems more likely they’re concept designs.
The four prequels to the seminal 1986 miniseries by Alan Moore and Dave Gibbons are said to also involve Darwyn Cooke, J. Michael Straczynski, John Higgins and even Gibbons himself. Cooke, however, seemed to dismiss reports he was working on one of the miniseries, telling CBR News recently, “Ah, get out, man. That’s like three years old.”
Bleeding Cool contends it’s been “informed quite conclusively from a reliable source” at the publisher that the artist is among the A-list talent involved in the secretive project, which reportedly will use key characters from the seminal 1986 miniseries by Alan Moore and Dave Gibbons.
Other previously mentioned creators include Darwyn Cooke, J. Michael Straczynski, J.G. Jones, John Higgins and even Gibbons himself.
Murmurs of DC’s desire for a Watchmen follow-up gained steam in 2010 after the departure of President Paul Levitz, believed to be the last in-house obstacle to using the Moore-Gibbons characters. The writer seemed to confirm as much last year when he revealed the publisher finally had offered to return the rights to the property — copyright and royalty issues form the roots of his legendary feud with DC — in exchange for a concession: that Moore “agree to some dopey prequels and sequels.” He refused.
Then-newly minted Co-Publishers Dan DiDio and Jim Lee said at the time that DC “would only revisit these iconic characters if the creative vision of any proposed new stories matched the quality set by Alan Moore and Dave Gibbons nearly 25 years ago, and our first discussion on any of this would naturally be with the creators themselves.”
As recently as August, Gibbons addressed perennial rumors of a sequel and the possibility of the characters being transplanted into the DC Universe, telling Comic Book Resources, “It’s not something that I’d personally like to see happen. […] What I would say is, intrinsic to the whole idea of Watchmen is that they existed in a world that was the way it was because of their existence. And I think to transplant them into another world actually removes a huge part of what is the essence of Watchmen.”
[Mark Millar and J.G. Jones’s] Wanted articulated a new myth for the hordes of suddenly cool under-achievers who’d been lionized by the rise of “nerd culture.” Big business, media and fashion were, it seemed, so starved of inspiration, they’d reached down to the very bottom of the social barrel in an attempt to commodify even the most stubborn nonparticipants, the suicide Goths and fiercely antiestablishment nerds. The geeks were in the spotlight now, proudly accepting a derogatory label that directly compared them to degraded freak-show acts. Bullied young men with asthma and shy, bitter virgins with adult-onset diabetes could now gang up like the playground toughs they secretly wanted to be and anonymously abuse and threaten professional writers and actors with family commitments and bills to pay.
Soon film studios were afraid to move without the approval of the raging Internet masses. They represented only the most miniscule fraction of a percentage of the popular audience that gave a shit, but they were very remarkably, superhumanly angry, like the great head of Oz, and so very persistent that they could easily appear in the imagination as an all-conquering army of mean-spirited, judgmental fogies.
In the shadow of The Tipping Point, Malcolm Gladwell’s immensely influential book on social networks and marketing, nobody wanted to risk bad word of mouth, little realizing that they were reacting, in many cases, to the opinions of a few troublemakers who knew nothing but contempt for the universe and all its contents and could hardly be relied upon to put a positive spin on anything that wasn’t the misery and misfortune of others. Too many businesspeople who should have known better began to take seriously the ravings of misinformed, often barely literate malcontents who took revenge on the cruel world by dismissing everything that came their way with the same jaded, geriatric “Meh.”
– Action Comics and Batman Inc. writer Grant Morrison on the nastiness of “nerd culture” in Supergods, his new prose non-fiction book about superheroes. Morrison uses the protagonist of his former friend and protégé Mark Millar’s Wanted, a downtrodden office drone who launches a rape-murder spree when he discovers he’s part of a secret supervillain society, as a symbol of how nerds, a group of people bullied and marginalized by society, have frequently used the newfound power conferred upon them as pop-culture trailblazers to bully and marginalize others. Or as another writer of science fiction once put it, “The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.” (He likes Wanted, fwiw.)
It’s a bit surprising to see Morrison resorting to the fat-virgin stereotype, but in the context of the book it becomes clear that he was burned pretty badly by over-the-top fanboy rampages, up to and including threats against him, following such works as New X-Men and Final Crisis — hence the obvious and perhaps forgivable rancor in response. Food for thought during the San Diego Comic-Con, nerd culture’s annual Woodstock?
(via Matthew Perpetua)
Comics fans in the Northeast United States who aren’t heading to Chicago Comic & Entertainment Expo or Wizard World’s Toronto convention this weekend might considering driving (or riding the Amtrak) to Philadelphia for this event: An evening with artist J.G. Jones and writer John Arcudi at Locust Moon Comics.
The event will be held from 7 to 10 p.m. Friday at the nearly one-year-old store, located at 4040 Locust St., near the University of Pennsylvania campus. Check out the press release after the break.
Yesterday the eighth and final issue of Geoff Johns and Ivan Reis’s hit event comic Blackest Night came out, and DC has been celebrating its successful conclusion (how about that fold-out spread, huh???) in grand fashion. On Tuesday, DC’s official blog, The Source, hosted an open thread for fans to share their favorite Blackest Night moments and memories. Source blogger and PR guru Alex Segura posted a heartfelt encomium to the series, its spinoffs, and its creators once it wrapped on Wednesday. Today, editor Eddie Berganza contributed a eulogy of his own.
All well-deserved, as far as I’m concerned: Blackest Night clearly worked for its intended audience, myself included. A hook everyone could understand, a huge (and fun!) expansion of the Green Lantern mythos that convincingly roped in characters from the Flash to Lex Luthor to Hawk and Dove, rock-solid art from Ivan Reis, perhaps the most t-shirt-friendly concept in comics history…I had a hoot with this book and its parallel Green Lantern tie-ins as well, and judging from the uniformly positive fan feedback in the comments for Segura’s tribute, I’m far from alone.