Jimmy Palmiotti Archives - Robot 6 @ Comic Book Resources
It surprised me to see Jimmy Palmiotti pursuing yet another Kickstarter in 2014, considering he had successfully completed one earlier in the year for Denver. This new one, launched this week, focuses on Sex and Violence Vol. 2.
My decision to interview the veteran writer wasn’t based on aiming to help him achieve his Kickstarter goal; he’s days, if not hours, away from achieving that. Instead, I hoped to tap into some of the knowledge that allows him to so effectively operate crowdfunding campaigns (many of the completed projects can be bought at the PaperFilms shop).
Not only did the creator offer some of the lessons learned from his past Kickstarters (hint: avoid the shipping costs from hardcover), but he also proved quite candid about the challenges of swimming in creator-owned waters. Palmiotti also was willing to elaborate about his perspective on last week’s controversy about Milo Manara Spider-Woman #1 variant cover.
Retailing | A federal judge has issued a temporary restraining order halting the $21.4 million purchase of retail chain Hastings Entertainment by Joel Weinshanker, president and sole shareholder of Wizkids parent National Entertainment Collectibles Association. The order was granted at the request of two Hastings shareholders who sued to stop the sale, insisting the price paid for the retailer is too low; it will remain in effect until a hearing can be held on June 12. Hastings issued a statement Monday pledging to “vigorously dispute these claims.” Hastings operates a chain of 149 stores that sells books, comics, video games and more. [Amarillo Globe-News, via ICv2]
Retailing | Amazon may be charging full price for Hachette’s graphic novels as part of its continuing contract dispute with the publisher, but Barnes & Noble has leaped into the breach with big discounts and a buy-two-get-one-free promotion on Hachette’s Yen Press manga and Little, Brown’s Tintin books. [ICv2]
Nearly two months after Amazon announced the purchase of comiXology, the first title from the retail giant’s Jet City Comics imprint has debuted on the digital comics platform.
Wool: The Graphic Novel, an adaptation of the bestselling sci-fi novel by Hugh Howey, will be serialized in six biweekly issues beginning today on comiXology for $2.99 each. The full run is also available for $4.99 on Amazon.com as a Kindle Serial, with new issues arriving on the same schedule; comiXology will offer a $4.99 bundle once all six installments have been released.
A dark, dystopian story set on a post-apocalyptic Earth, Wool was published in 2011 by Howey as a novelette through Amazon’s Kindle Direct Publishing system. As it attracted a following, he wrote more installments, which became the bestselling Silo Series. The graphic novel is written by Jimmy Palmiotti and Justin Gray and illustrated by Jimmy Broxton; a print edition will be released in August.
Amazon launched its Jet City imprint in July 2013, intending to serialize its titles for the Kindle, and then offer bundled digital editions and print collections. Naturally with the acquisition of comiXology in April, the distribution channels expanded.
The always-busy writing team of Jimmy Palmiotti and Justin Gray are back with a Kickstarter campaign for Denver, a 72-page original graphic novel for mature readers illustrated by Pier Brito. As with most things involving Palmiotti, there is an interesting angle to this particular project (his sixth Kickstarter) in that the creators have added a soundtrack to the story, written and composed by Hans Karl. Denver comes equipped with a direct story pitch: “… one man going against all odds to get back the woman he loves, all set in the not-too-distant future.” With 15 days left on the campaign, Palmiotti was happy to discuss this latest Kickstarter.
Publishing | DreamWorks Animation’s announcement on Monday that it is launching its own book-publishing unit doesn’t mean the end of the road for its comics licensees, at least not yet: ICv2 talked to representatives from IDW Publishing, which publishes the Rocky & Bullwinkle comics, and Ape Entertainment, which has had a number of DreamWorks licenses, and both say that this won’t affect their comics. [ICv2]
Auctions | A collection of comics that included the first issues of The Amazing Spider-Man and the British satirical comic Viz, as well as long runs of several Marvel series, brought in almost £25,000 (about $41,300 U.S.) at an auction in Newcastle, England. The majority of the comics were from a single collector whose wife decided to put them up for sale after he died. For those who are curious about the details, Duncan Leatherdale of The Northern Echo liveblogged the auction. [BBC News]
Digital comics | ComiXology has released an update for its Comics iOS app with a few fixes and a new feature: a Wish List. The app also now supports Manga Fixed Format. [App Advice]
Digital comics | Rob Salkowitz takes a look at the issues surrounding digital comics platforms for libraries and discusses one possible solution, iVerse’s Comics Plus Library Edition. [ICv2]
Digital comics | Tyler James offers some solid advice for creators planning to use comiXology Submit. [Comix Tribe]
Conventions | Steve Duin has a largely tepid assessment of last weekend’s Wizard World Comic Con, declaring, “Thank God for Emerald City.” [The Oregonian]
It’s almost that time again — time for ROBOT 6′s annual takeover of the Comic Book Resources home page to celebrate our anniversary. With this year bringing our big fifth anniversary, we thought we’d get a head start with one of our annual features, “Looking Forward, Looking Back,” where we ask comics folks what they liked in 2013, what they’re looking forward to in 2014 and what projects they have planned for the coming year.
In this post, you’ll hear from Jimmy Palmiotti, Brandon Montclare, Joe Keatinge, Caanan Grall, Rafer Roberts, Josh Hechinger, Jim Gibbons, Scott Fogg, Evan “Doc” Shaner and Kyle Stevens from Kirby Krackle! Then come back later today and on Tuesday to read from more of your favorite creators.
It’s been about 10 years since the first ongoing series of popular Batman: The Animated Series export Harley Quinn published its 38th and final issue, so she was due — if not overdue — for another shot, particularly given that DC Comics’ current strategy means publishing a certain number of books each month, and the market seems to be rejecting a lot of those. Looked at in that light, then, this week’s Harley Quinn #1 was something of an inevitability.
The character certainly hasn’t been idle all that time, of course: She was a frequent presence in the Bat-books, shared the 2009-2011 Gotham City Sirens with Catwoman and Poison Ivy, briefly joined the Gail Siomone-written Secret Six and, with the New 52 reboot, she received a new origin story and costume in the pages of Suicide Squad. And, of course, she appeared at least briefly in various Batman cartoons during that time, as well as in the extremely popular Batman: Arkham video games and the more recent Injustice: Gods Among Us.
Certainly the character is popular, and while different fans probably like her for different reasons, the important factors seem to be that 1.) she’s a lady, 2.) she’s a sexy lady, and 3.) she offers the same sense of anarchy and dark humor as her sometimes-boyfriend The Joker, but without the depravity. More often than not — particularly in the comics and cartoons — she’s as much antihero as villain, a safer alternative to The Joker, whose evil serial killer portrayal is no so deeply embedded into the character that it can be difficult for creators to walk him back toward any more lighthearted portrayals.
Publishing | Retail news and analysis website ICv2 breaks down November’s comics sales to the direct market and finds year-to-date sales up 9.33 percent over last year, with an 11.09 percent increase in comics and 5.55 percent in graphic novels. Batman #25 topped the comics chart with more than 125,000 copies, followed at No. 2 by Harley Quinn #0 with about 114,000. In the graphic novel category, the latest volume of The Walking Dead led with about 25,000 copies sold in November. ICv2 also lists the top 300 comics and graphic novels for November. [ICv2]
Creators | Molly Crabapple talks to Art Spiegelman, and draws his portrait as well. [Vice]
Retailing | The rental chain Tsutaya and the bookstore chain Yurindo have returned Kuroko’s Basketball books and DVDs to their shelves after “X-Day,” Nov. 4, passed without incident. Someone has sent hundreds of threatening letters to convention sites, bookstores, the media and Sophia University (the alma mater of Kuroko’s Basketball creator Tadatoshi Fujimaki), over the past year, and the most recent batch of letters said that “X-Day will be on the final day of the [Sophia University] school festival.” Meanwhile, police are checking security cameras near all the mailboxes in the districts from which the letters were mailed, looking for suspicious people. [Anime News Network]
Comics | Brian Steinberg looks at Archie Comics’ most radical move yet: the relatively adult Afterlife with Archie, which literally turned America’s most iconic teenagers into zombies. Steinberg talks to Archie CEO Jon Goldwater, writer Roberto Aguirre-Sacasa, artist Francesco Francavilla and others about the significance of this comic, which sold almost 65,000 copies to the direct market. [Variety]
Harley Quinn #0, written by Jimmy Palmiotti and Amanda Conner and drawn by more than a dozen artists, arrives today in stores and contains the winning entry from the DC Entertainment Open Talent Search. The page, by Jeremy Roberts, is notable in that it is significantly toned down from the controversial script released in September.
DC came under fire from readers and advocacy groups alike for the original tryout page, which directed artists to depict the fan-favorite character naked in a bathtub, seemingly about to commit suicide, a scene Palmiotti explained was merely a surreal dream sequence.
The American Foundation for Suicide Prevention, American Psychiatric Association and National Alliance on Mental Illness called the contest “extremely insensitive” and “potentially dangerous,” leading the publisher to apologize to anyone who may have been offended by the script while reiterating its intended “cartoony and over-the-top in tone.”
The original script described the fourth panel as, “Harley sitting naked in a bathtub with toasters, blow dryers, blenders, appliances all dangling above the bathtub and she has a cord that will release them all. We are watching the moment before the inevitable death. Her expression is one of ‘oh well, guess that’s it for me’ and she has resigned herself to the moment that is going to happen.”
But in the published Harley Quinn #0, the first three panels remain the same — Harley holding onto a cell tower during a thunderstorm, feeding alligators and tickling the roof of a whale’s mouth — but the final one has been drastically changed: Instead of contemplating suicide in her bathtub, the character is shown riding a missile, Dr. Strangelove-style, high above the Earth.
Although the tryout script didn’t include dialogue, the overall tone of the page seems to lack the “Mad magazine/Looney Tunes approach” Palmiotti said that he and Conner intended.
Harley Quinn #0 is in stores now.
Apparently, it takes three respected organizations to reiterate what fans had been saying for a week in order for DC Comics to admit: Maybe the fans have a point.
As we reported Friday, the publisher apologized to anyone offended by the talent search tryout page that asked artists to depict Harley Quinn naked in a bathtub, seemingly about to commit suicide. While the apology is welcome news, the entire rundown of the event reveals an unfortunate approach to handling controversy. Let’s take a look at the timeline of the Harley Quinn suicide debacle:
• Thursday, Sept. 5: DC launches the contest with a script excerpt of four panels that culminate in an apparent suicide scene. Fans on Tumblr, Twitter and elsewhere begin to react.
• Saturday, Sept. 7: Co-Publisher Jim Lee posts a series of tweets explaining context and attempting to clarify the intent of the story.
• Tuesday, Sept. 10: Co-writer Jimmy Palmiotti posts an apology on his Facebook page, and clarifies the controversial panel is part of a surreal dream sequence. “I hope all the people thinking the worst of us can now understand that insulting or making fun of any kind was never our intention,” he writes. “I also hope that they can all stop blaming DC Comics for this since it was my screw up.”
DC Comics kicked off its Villains Month last week, as the evil opposites of the Justice League invaded the DC Universe, seemingly disposing of all the heroes and taking over the world.
Likewise, the villains have been taking over DC’s New 52 line of comic books, with the MIA heroes finding the covers of their books occupied by bad guys. Those are, of course, the collectible and somewhat-controversial (among retailers) 3D lenticular covers.
But as the case with books, we shouldn’t judge a comic by its cover, so let’s continue reviewing our way through the contents of the Villains Month issues. As with last week’s batch, I’m rating each book on a 10-point scale of how evil it is, with “Not Very Good” being the worst and “Absolute Evil” the best, and noting its connectivity to the Forever Evil crossover event that sparked the promotion in the first place.
Responding to the backlash to the tryout page for DC Entertainment’s Open Talent Search, Harley Quinn co-writer Jimmy Palmiotti has clarified that a scene depicting the fan-favorite character in a bathtub, seemingly planning suicide, is merely a surreal dream sequence.
“That the tryout Harley Quinn page went out without an overall description of tone and dialogue is all my fault,” he wrote this morning on his Facebook page. “I should have put it clearly in the description that it was supposed to be a dream sequence with Amanda [Conner] and I talking to Harley and giving her a hard time. I should have also mentioned we were thinking a Mad magazine/Looney Tunes approach was what we were looking for. We thought it was obvious with the whale and chicken suit, and so on, but learned it was not. I am sorry for those who took offense, our intentions were always to make this a fun and silly book that broke the 4th wall, and head into issue 1 with a ongoing story/adventure that is a lot like the past Powergirl series we did. I hope all the people thinking the worst of us can now understand that insulting or making fun of any kind was never our intention. I also hope that they can all stop blaming DC Comics for this since It was my screw up. The idea for the page to find new talent is an amazing one and we hope that can be the positive that comes forward from today on … that we get some new talent working in our field because of this unique opportunity.”
While talking about the financial difficulty of hitting a lot of big conventions during the year, a group of comics writers came up with a potential new way to make creator appearances more frequent and cost-effective.
Jimmy Palmiotti started the conversation by noting that when most creators attend a convention, they do so on their own dime. And for writers it’s especially tough, as they’re unable to sell artwork to recoup costs. Ron Marz noted that even when the table is free, he still loses money unless the convention at least pays for travel and hotel expenses, while Steve Niles added that recovery time after conventions is also a factor. Time spent at a show (or being sick after a show) is time not spent on creating comics.
None of these creators prefers to stay home and miss meeting readers and other industry people, so Niles shared how, because he wasn’t able to attend Comic-Con International this year, he Skyped into a panel and had a good experience. “I wish we could do this at stores to meet fans,” he wrote. And then the conversation took off.