What's the Deal With [SPOILER] in "X-Men: Apocalypse's" Post-Credits Scene?
Retailing | The Philadelphia comics and art shop Locust Moon is closing its doors as a retailer so that co-owner Joshua O’Neill can focus on a different area of the business: publishing. “[A]s publishers, we’re just getting started,” O’Neill posted on his Facebook page. “[W]e’ll now be able to focus our attentions on making books full time. we’re incredibly excited about that. locust moon is not dying — it’s still just being born.” Locust Moon has already published an Eisner Award-winning anthology of Little Nemo comics, and is running a Kickstarter campaign to fund the publication of some very early “lost” Will Eisner comics. [PhillyVoice]
Publishing | Abraham Riesman looks at the revival of Valiant, which was once the third-largest comics publisher in the United States and now, under new management, aspires to reclaim that position. The article covers the rise and fall of the original company, its rescue by now-CEO Dinesh Shamdasani, and the strategy the new Valiant has used to quickly build an audience for a different type of superhero comic. [Vulture]
Conventions | San Diego officials had to do some shuffling to accommodate the Major League Baseball All-Star Game, which will be played in the city in 2016, but they didn’t move Comic-Con International, which is only a few days later. “Their attendees are such a unique group that they don’t take well to change,” said Joe Terzi, chief executive of the San Diego Convention & Visitors Bureau. “They plan their year around this event.” [U-T San Diego]
Next fall, Fantagraphics will publish Massive: Gay Erotic Manga and the Men Who Make It, featuring stories by an array of well known Japanese manga creators, many of whom have never been published in English before.
Massive was originally slated to be published by PictureBox, but the company closed its doors at the end of 2013 and Fantagraphics acquired the book as part of its queer comics line. Translators Anne Ishii and Graham Kolbeins and designer Chip Kidd will remain on the book at its new home; the three also worked on The Passion of Gengoroh Tagame, a collection of gay manga that PictureBox published last year to great acclaim.
The creators whose work is represented in the book are Gengoroh Tagame, Jiraiya, Seizoh Ebisubashi, Kazuhide Ichikawa, Gai Mizuki, Takeshi Matsu, Fumi Miyabi, and Kumada Poohsuke.
We talked to Ishii and Kolbeins about their work and the gay manga genre in Japan and the United States.
Welcome to the very last Food or Comics. Next week our new-release picks will take a different format, but this week we’re still talking about what comics we’d buy at our local 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.
Let’s be honest, if I had $15, I’d make sure that Batman Incorporated #8 (DC Comics, $2.99) was first on my list. Not because of any controversy — I’ve been enjoying the series all along — but because I’d be worried it’d sell out if I waited. I’d also grab two Dynamite books: Jennifer Blood #23 and Masks #4 (both $3.99); Al Ewing has done just insane, amazing things on the former, and the Chris Roberson/Dennis Calero team on the latter is just killing it.
If I had $30, I’d find myself time traveling to all the weeks prior in which I didn’t use all $30 to borrow a dollar from past-me, just so that I could get Showcase Presents Justice League of America, Vol. 6 (DC Comics, $19.99), which takes the series firmly into the 1970s and brings the team face to face with villains including the Shaggy Man, Amazo and countless other favorites of my childhood.
Should I have some splurging left in me after that nostalgia-fest, I’d likely go for the Judge Anderson: PSI Files, Vol. 3 collection (Rebellion, $32.99), which picks the series up just after I’d dropped off the 2000AD radar for awhile, and hopefully gives me the chance to get back into the character, now that I am firmly into Thrill Power again.
This has been a year of change in comics — for creators, for individual titles, for companies and for the industry at large. For Brian Wood, it was professionally one of his most volatile years since he quit his day job as a designer to work in comics full-time. It saw Wood end his twin creator-owned titles at Vertigo (DMZ and Northlanders), end his exclusive contract with DC Comics, and begin a new era mixing creator-owned with an unprecedented (for him) number of work-for-hire books
As we stand on the edge of this year and peer into the next, Wood is looking to build on 2012 projects like Conan the Barbarian, The Massive and Ultimate Comics X-Men with a new creator-owned series, Mara, debuting next week from Image Comics, and then on Jan. 9 launching his highest-profile project to date: Star Wars, a highly anticipated Dark Horse monthly set between the events of A New Hope and The Empire Strikes Back and featuring familiar characters like Luke Skywalker, Princess Leia and Han Solo. Brian Wood Month redux? Perhaps.
Comic Book Resources has interviewed Wood about each of his upcoming projects, so in this conversation I’m able to focus on the big picture, addressing his career and the context of his projects. Wood and I discuss changes at DC that led to his departure, what could have been had he stayed, and his plans both inside and outside of comics.