O Say Can You See: The Greatest Patriotic Super Heroes of All-Time
Manga | ICv2 kicks off a week of manga coverage with a two-part interview with Kevin Hamric, Viz Media’s senior director of sales and marketing. Sales are up, with particularly strong growth in the direct market, where their older and darker series, like the Signature line, tend to do better. Interestingly, sales of shoujo (girls’) manga are up 20 percent in the direct market as well. In bookstores, as measured by BookScan, they are the number one graphic novel publisher of 2014, and they had five of the top ten best-sellers. Given all that, Hamric is genial about ceding the top spot to a Kodansha title: “Attack on Titan is #1, but whatever works and brings people into the stores and into the category is good for everybody.” In Part 2, he reveals what he expects to be the biggest book of 2015, Legend of Zelda: A Link to the Past. [ICv2]
After eight years, Alan Moore has completed the epic first draft of his long-discussed novel Jerusalem, which clocks in at more than 1 million words.
“Has finished the first draft of his second novel, Jerusalem,” the writer’s daughter Leah Moore announced Tuesday on Facebook. “Now there’s just the small matter of copy editing a more-than-a-million word document, and its all done.”
The Verge offers a bit of context for that staggering figure, noting that it’s the equivalent of more than two Lord of the Rings novels, or the first three installments of the Song of Ice and Fire series. The Guardian adds that it’s 200,000 words more than the Bible.
Conventions | HeroesCon, which begins Friday in Charlotte, North Carolina, will double in size this year, with the exhibit area increasing from 100,000 to 200,000 square feet. “There’s a whole lot more of everything,” says founder Shelton Drum. Including people? Last year’s convention drew in 17,000 attendees, and Drum thinks this year’s event will attract more newcomers curious about the source material of their favorite movies. [Winston-Salem Journal]
Creators | Peter Bebergal talks with Alan Moore about Jerusalem, magic, comics, and the tendency to conflate gods with superheroes: “It is contrived, because they’re not at all the same. Superheroes are the copyrighted property of big corporations. They are purely commercial entities; they are purely about making a buck. That’s not to say that there haven’t been some wonderful creations in the course of the history of the superhero comic, but to compare them with gods is fairly pointless. Yes, you can make obvious comparisons by saying the golden-age Flash looks a bit like Hermes, as he’s got wings on his helmet, or the golden-age Hawkman looks a bit like Horus because he’s got a hawk head. But this is just to say that comics creators through the decades have taken their inspiration where they can find it. Before I was interested in magic as a viable way of life, I was certainly aware of the occult, and wouldn’t be above taking names or concepts or ideas from the occult.” [The Believer]
Welcome to What Are You Reading?, our weekly rundown of what comics and other stuff we’ve been checking out recently. Today our special guest is cartoonist Austin English, creator of the graphic novel Christina and Charles and publisher of Domino Books.
To see what Austin and the Robot 6 crew have been reading, click below.
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.
If I had $15, I’d go all-in on AvX: Vs #1 (Marvel, $3.99). As a story format-junkie, this seems like an ideal supplemental series to the event comic series as we know it – I may have read it wrong, but this seems low on continuity and high on action – kind of a throwback to the condensed comics of the ’60s, I hope. And seeing Kathryn and Stuart Immonen on this together is a big deal – wish they’d get more chances like this! Next up would be the finale of The Twelve, #12 (Marvel, $2.99). I argued with myself about waiting for the trade at this point, but at the end of the day I’m more interested in this than a lot of everything else going on out there. Plus, I bought the eleven previous issues so I should finish it out, right? Next up would be Spaceman #6 (DC/Vertigo, $2.99). I’m finding this series benefits from a deeper re-reading prior to each new issues, but it’s paying off in spades in terms of my enjoyment. This is definitely a palate cleanser after Azzarello and Risso’s run on 100 Bullets, but in a good way. Finally, I’d get Daredevil #11 (Marvel, $2.99). The Eisner Awards judges got this one right when they piled nominations on this book, because Waid, Martin, and Rivera have really made the quintessential superhero book here. The fill-ins from Khoi Pham and Marco Checchetto seem off-putting, but they’ve earned some lee-way after the murderer’s row of creators who started the book. Can’t wait to see Samnee on this, however.
If I had $30, I’d start off with an interesting looking project that’s gotten no press – Airboy: Deadeye #1 (Antarctic Press, $3.50). Chuck Dixon and Ben Dunn — what a pairing. After that I’d go back to get Supercrooks #2 (Marvel/Icon, $2.99); Mark Millar knows how to sell a high-concept, but it’s Leinil Yu that’s making me come back past the first issue. After that would be an Avengers two-fer: New Avengers #25 (Marvel, $3.99) and Secret Avengers #26 (Marvel, $3.99). I dropped off New a few issues back, but with this new issue covering some never-before-seen connections between Iron Fist and the Phoenix Force, I’m back in for this one. And Secret Avengers, well, Remender’s on a roll with his Marvel work and this is continuing on that without being an Uncanny X-Force retread. And guest artist Renato Guedes seems a better fit for this than his work on Wolverine.
If I could splurge, I’d lunge for a copy of The Art of Amanda Conner (IDW/Desperado, $29.99). I was fortunate enough to get a digital review copy of this earlier, and seeing it like that only made me want this more. Rather than just being a template art book plugging in her work, the design and packaging really go along with what you’d expect from Amanda’s tongue-in-cheek comic style. Reading this makes me want to go back and track down her earlier work that I missed.
Oh man, this was an unexpected treat to find in my Google Reader today: A six-page preview of comics memoirist-cum-journalist Guy Delisle’s upcoming travelogue Jerusalem, courtesy of Drawn and Quarterly. Delisle recounts a trip to an Israeli checkpoint as Palestinians attempt to pass through to attend Friday services at the al-Aqsa Mosque, and the resulting pages are a gorgeous demonstration of how to convey controlled chaos with a handful of lines and graytones. The full book, Delisle’s longest to date, comes out in April 2012.
No sooner does The Comics Reporter’s Tom Spurgeon return from hiatus (welcome back, Tom!) than he breaks news of an exciting, and potentially controversial, new comic from Drawn & Quarterly: Jerusalem: Chronicles from the Holy City, the latest in cartoonist Guy Delisle’s series of graphic memoirs-slash-travelogues. Why controversial, you ask? Because Delisle’s travelogues have all chronicled everyday life under infamously repressive regimes — North Korea in Pyongyang, China in Shenzhen, and “Myanmar” in Burma Chronicles. I have a feeling that many people won’t feel super comfortable with Israel keeping that sort of company. On the other hand, the book takes place in part during the three-week Gaza War that resulted in a 1100-plus-to-13 Palestinian-to-Israeli death ratio, so perhaps even Israel supporters could concede that the war-is-hell harshness of this conflict is in keeping with Delisle’s past efforts.
The book is due in Spring 2012, with an initial first printing of 30,000 copies. Click the link for more details, including what publisher and editor-in-chief Chris Oliveros has to say about the project.