Vaughan & Chiang's "Paper Girls" Builds a Familiar Yet Disconcerting World
Hello everyone, Happy Memorial Day weekend to America, and welcome one and all to What Are You Reading? This week we are joined by special guests Brandon Montclare and Amy Reeder, the creative team behind Halloween Eve and the upcoming Rocket Girl. I spoke to them earlier this month about Rocket Girl, which surpassed its Kickstarter goal but you still have some time to get in on the action and rewards.
To see what Brandon, Amy and the Robot 6 crew have been reading, click below.
Everyone should start contributing to my secret island base and henchman pension fund, because as soon as I take over the world we’re getting a Victorian Batman series by Jeremy Bastian, in addition to Cursed Pirate Girl.
It’s become an annual tradition during our birthday bash: No matter how much stuff we line up, people we interview, etc., there are still tons of people we like to hear from and include in our giant New Year’s/anniversary/birthday activities. So, as we have in past years, we have asked various comics folks what they liked in 2012 and what they are excited about for 2013.
Check out Part One, and keep reading to see more of what people shared with us, including details on their upcoming projects. Our thanks to everyone who responded this year. Also, thanks again to Tim O’Shea, Michael May and Chris Arrant, who helped collect responses.
SAM HUMPHRIES (The Ultimates, Sacrifice, Uncanny X-Force)
What was your favorite comic of 2012?
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.
It’s beginning to look a lot like the final Wednesday before Christmas (and the final full one of the year), so with my $15, I’d get some gifts for myself that I know I’ll enjoy: the second issue of Chris Roberson (and now, Dennis Calero)’s Masks (Dynamite, $3.99), the third issue of Brandon Graham’s Multiple Warheads: Alphabet to Infinity (Image, $2.99) and Francesco Francavilla’s The Black Beetle: Night Shift #0 (Dark Horse, $2.99). Also, I suspect that I’ll be unable to resist the first part of Vertigo’s adaptation of Django Unchained (DC/Vertigo, $3.99), too.
If I had $30, I’d add another pile of favorites to that list: Judge Dredd #2 (IDW, $3.99), the by-now-amazingly-late-but-still-enjoyable Bionic Woman #6 (Dynamite, $3.99), Hawkeye #6 (Marvel Comics, $2.99), and the latest issue of the always-wonderful Saga (Image, $2.99).
When it comes to splurging, however, then I’m going to be playing it relatively cheaply: That Star Trek 100-Page Winter Spectacular (IDW, $7.99) feels like it might offer just the kind of space-age cheer I’ll be grateful for by mid-week … Happy Warpspeed Holidays, all.
The Creator-Owned Comics panel at Boston Comic-Con drew together five creators with a range of experiences to discuss the fine points of making and marketing their own comics. The panelists were Ben Templesmith (Wormwood: Gentleman Corpse), Becky Cloonan (Wolves), Joe Benitez (Lady Mechanika), Geof Darrow (Shaolin Cowboy), and Jeremy Bastian (Cursed Pirate Girl). The moderator was Brian LeTendre of the Secret Identity podcast.
The panel began with a discussion of how the comics landscape has changed over the years. “It’s changed completely,” said Ben Templesmith. “Every small publisher in the comics media, they have all now pretty much been swallowed up by bigger fish. Everyone in the main media is getting involved in comics and buying up small publishers.”
Cloonan, on the other hand, doesn’t see much difference in the way she sells her self-published comics. ” When I first started doing mini-comics, it was almost exactly the way I do them now,” she said. “I go to conventions and I bring my suitcase filled with comics; I just sell more. It’s funny how much social media and the industry has changed, but I still handle it and approach it much the same way I did in college.”
Creators’ rights | Gerry Giovinco points out that the mega-studio that is Walt Disney got its start because Walt signed a bad contract and lost the rights to his creation Oswald the Rabbit. Giovinco calls on Disney, as the parent company of Marvel, to acknowledge and perhaps actually compensate the creators of the products it is marketing: “I can’t believe that a company as wealthy Disney cannot find a way to see the value of the good will that would be generated by establishing some sort of compensation or, at the very least, acknowledgement to the efforts put forth by these creators.” [CO2 Comics Blog]
Digital comics | John Rogers discusses working with Mark Waid on his Thrillbent digital comics initiative. “There are people who are selling enough books to make a living on Amazon, whom you’ve never heard of. Because Amazon made digital delivery cheap and easy. That is what you must do with comics. It’s not hard. The music business already solved this problem. Amazon already solved this problem. It’s not like we’re trying to build a rocketship to the moon out of cardboard boxes. Webcomics guys — and this is kind of the great heresy — solved this problem like ten years ago, using digital distribution then doing print collections and also doing advertising and stuff.” [ComicBook.com]
Sunday was a great day. It started off awesomely with a marriage proposal. A young man named Matthew had hired my friend Grant to draw a picture of Buffy the Vampire Slayer for his girlfriend, Lisa, a Buffy fan. When they picked up the commission, Lisa read the word balloons, “Hi, Lisa. Matthew tells me he loves you very much and he has a very important question to ask…”
One of the things a lot of pros like about C2E2 is the late start on Friday. It doesn’t open to the public until 1:00 pm, so creators can sleep in and recover from their trips if they want. Or, if they want to go early to set up or just walk around and visit with each other, they can do that too. It’s also helpful for press jerks taking lots of pictures. Lots. Of pictures.
If you happen to be in the vicinity of East Lansing, Michigan, the week after next, it would be worth your while to check out the 2012 Michigan State University Comics Forum. Panel coordinator Ben Chabala (himself the creator of The Art of War) sent along some info, including the news that Jessica Abel (Life Sucks, Drawing Words and Writing Pictures) will deliver the keynote address on Friday, Feb. 3. Abel will also be gracing Artists Alley on Saturday, along with Jeremy Bastian (Cursed Pirate Girl), Ryan Claytor, Jay Jacot (creator of this year’s poster), Ryan Stegman and a host of budding and experienced comics creators. Forums and panel discussions will also take place on Saturday.
When Jeremy Bastian first declared that he was going to make a comic called Cursed Pirate Girl, it was part of an explosion of titles planned by Archaia. The comic ultimately came out through Olympian instead, but Bastian has just announced that CPG is back at Archaia. “Olympian Publishing was the perfect place to introduce CPG to the world,” he writes, “as well as a great partner to brainstorm with about coming up with new things to accent the book with. Archaia will help bring it to a much larger audience.”
He doesn’t mention why the series will no longer be published by Olympian, but the publisher’s website no longer exists, so it’s possible the company’s no longer in business, perhaps another victim of the turbulent publishing industry. That’s complete speculation, though.
At any rate, Bastian promises “a couple of differences” between the two publishers’ versions, and says the new edition — presumably hardcover, as that’s what Archaia is known for — will be available sometime next spring.
Oh, and be sure to visit Bastian’s announcement yourself to also see his versions of Sandman and Death, Black Cat, and Little Nemo, done as commissions at recent conventions.
It’ll be a while before Cursed Pirate Girl #4 is done and printed, but Jeremy Bastian wants us to know that he’s hard at work on it. To prove it, he’s shared page two above, including photos of the page in various stages of the process.