neil gaiman Archives - Page 2 of 11 - Robot 6 @ Comic Book Resources
Publishing | I talked with TOON Books founder Francoise Mouly about her new imprint, TOON Graphics, which will feature “visual books” (picture books and comics) for readers ages 8 and up. The line launches with three titles: Theseus and the Minotaur, by Yves Pommaux, Cast Away on the Letter A, by Fred, and Hansel and Gretel, retold by Neil Gaiman and illustrated by Lorenzo Mattotti. [Publishers Weekly]
Commentary | Former DC Comics senior editor Joan Hilty tackles the issue of sexism in comics and calls for publishers to include more women in their senior editorial rank:. “Women are getting the bestselling books into stores and greenlighting the million-dollar movie franchises, but they’re barely represented among the creative executives who map out the universes and storytelling strategies. That’s where you cement broad-based, long-term loyalty to authors and characters, tap new audiences and trends, and grow readership, without which none of those books or movies would exist.” [The Guardian]
The British Library has debuted a trailer — a “Curators’ Introduction” — to promote “Comics Unmasked: Art and Anarchy in the U.K.,” the largest comics exhibition to date in the United Kingdom.
Opening Friday to the public, “Comics Unmasked” spans the history of British comic books, from the 19th century to the present, exploring how they’ve addressed such subjects as violence, sexuality and drugs while breaking boundaries. The exhibition kicks off with a screening of the documentary Graphic Novel Man: The Comics of Bryan Talbot, followed by a conversation with Bryan Talbot, Mary Talbot and Kate Charlesworth.
Academia | The Center for Cartoon Studies in White River Junction, Vermont, is adding a masters of fine arts degree in applied cartooning that will allow students to focus on using the comics medium for journalism, medicine, business and other fields. [Valley News, press release]
Creators | With the arrival of the second issue of The Sandman: Overture, Neil Gaiman talks about the joy of writing the first series and returning for this one, why he chooses to pen a story as a comic rather than a novel, and how his process differs as well: “When I’m outlining a comic, I write down the numbers 1 to 24, and I jot down what’s happening on each page, because I have to think of things in terms of pages, and double-page spreads. In a novel, if I want to move a scene, I just cut and paste. In a novel, it’s a completely different conversation.” [CNN]
Digital Story Engine has released a trailer for its documentary The Graphic Novel Man: The Comics of Bryan Talbot, which, as the title suggests, chronicles the four-decade career of the creator of The Adventures of Luther Arkwright, The Tale of One Bad Rat, Alice in Sunderland and Grandville.
The trailer, which clocks in at more than three minutes, showcases plenty of shots of Talbot and his work, interspersed with excerpts from interviews with the likes of Neil Gaiman, David Lloyd, Warren Ellis, Pat Mills and Michael Moorcock about the artist and his impact.
Eddie Campbell has made a name for himself among the upper echelon of modern comics creator, both for his collaboration with Alan Moore, From Hell, and for his own stories like Alec, Bacchus and the recent, great look at the concept of money, The Lovely Horrible Stuff. He’s created a lot of stories, but he’s far from finished.
This summer William Morrow will release the cartoonist’s illustrated version of Neil Gaiman’s The Truth is a Cave in the Black Mountains, and Top Shelf will publish a two-part omnibus edition of Bacchus. In addition, the Glasgow-born artist is working on two new projects, the first being a book about the roots of sports cartoons in late 19th-century San Francisco, and the other a collaboration with Audrey Niffenegger, author of the smash prose novel The Time Traveler’s Wife. ROBOT 6 spoke with Campbell about these upcoming projects, as well as his past works and the stories behind them — including last year’s From Hell Companion, which he compiled and wrote using never-before-seen materials from both himself and Moore.
Courtesy of Neil Gaiman, we’re treated to an all-too-brief preview, with the covers, of P. Craig Russell’s adaptation of The Graveyard Book, the author’s award-winning 2008 children’s novel.
Russell, a longtime Gaiman collaborator, is joined on the two-volume graphic novel by an impressive roster of artists, each illustrating one chapter: Kevin Nowlan, Tony Harris, Scott Hampton, Galen Showman, Jill Thompson and Stephen B. Scott on the first book, and David Lafuente, Hampton, Nowlan and Showman on the second.
The first volume will be released on July 29, followed by the second on Sept. 30.
In addition to donating signed books to a fundraiser for Worldbuilders, author and comics writer Neil Gaiman also promised to record himself reading the Dr. Seuss classic Green Eggs and Ham if they hit $500,000 in their fundraising. Which they did. So he did.
“It made me miss having small kids around to read to. I hope you enjoy it,” he wrote on his blog. Check it out below.
Crime | Federal prosecutors are seeking a lengthy prison term for Colleen LaRose, who was convicted, along with two other people, in a foiled 2009 plot to kill Lars Vilks, a Swedish cartoonist who drew a caricature of the Prophet Mohammed. LaRose, who goes by the online name “Jihad Jane,” could face a life sentence, but as she assisted U.S. authorities with several terrorism investigations, they are merely asking that she spend “decades” behind bars. LaRose’s sentencing hearing is scheduled for Monday; her co-conspirator, Mohammad Hasan Khalid, will be sentenced on Tuesday. [The Guardian]
Creators | Neil Gaiman, who maintains a highly visible presence on Twitter, Facebook and Tumblr — he has 1.8 million followers on Twitter alone — is taking a six-month “sabbatical” from social media to focus on his writing. “I feel that I’m getting too dependent on phones, on Twitter,” said Gaiman, who began blogging in 2001. “It’s a symbiotic relationship. That instant ability to find things out, to share. I want to see what happens when I take some time off.” [The Guardian]
The story, originally published as a short story in Gaiman’s 1998 collection Smoke and Mirrors, is set on the streets of Los Angeles, where a lost angel tells a stranded traveler about being sent by God to solve the mystery of another angel’s murder — and to exact vengeance for the crime.
The graphic novel version, initially published in 2002, was described by Publishers Weekly this way: “Using sharp, crystalline drawings of the eternal city and ribbons of color that suggest creation’s simultaneous plasticity and solidity, Russell conveys a bright, illuminated world of purity and divine experimentation. His crisp and vividly rendered drawings capture the haunting sense of loss and isolation Gaiman expresses in this mythic tale of love and jealousy.”
Russell and Gaiman famously collaborated on The Sandman #50, “Ramadan,” and on The Sandman: Endless Nights story “Death and Venice”; the artist also adapted Gaiman’s prose works The Sandman: The Dream Hunters, One Life Furnished in Early Moorcock, Coraline and The Graveyard Book for comics. Russell’s adaptations of Oscar Wilde’s fairy tales are currently being published by NBM.
Conventions | The standalone Stumptown Comics Fest may be history, but an event has popped up to help fill the void: Linework NW, organized by Zack Soto and Francois Vigneault, a free, one-day show that will take place April 12 in Portland, Oregon. Michael DeForge has been announced as a special guest for the event, which will include such exhibitors as Fantagraphics, Koyama Press, Oni Press and Top Shelf Productions. [The Comics Reporter]
Creators | Scott Snyder is the subject of a glowing profile in The New York Times, which states the writer has “reinvented Batman in the past two years, deepening and humanizing the Dark Knight’s myth — in the making since 1939 — like no one since Frank Miller in the 1980s.” [The New York Times]
I have a confession to make: I had a complete geek tantrum over the news that Joseph Gordon-Levitt is finalizing a deal to produce, and possibly star in and direct, a feature adaptation of Neil Gaiman and company’s The Sandman. I actually blurted out, “Who asked for this?!” Quite loudly. In a well-populated room.
I’m not proud; I should be above such pettiness. In fact, I should be thrilled because we all know what this means: DC Comics’ recently remastered collections of The Sandman are going to get a nice sales boost from the movie promotion (see Watchmen, 300, Scott Pilgrim, Hellboy, et al).
That’s nothing but good news for the creators, retailers and DC. It’s also good news for a new generation of readers that will likely be introduced to the landmark Vertigo series. More people being exposed to such an excellent example of comics is great, and when it comes down to it, I just want comics to succeed. So my feelings should be put aside, and I should be trumpet the adaptation as good news. But …
I don’t wanna. I really don’t wanna.
I attended a small, perpetually broke Catholic high school that couldn’t afford to employ a guidance counselor. If we could have afforded one, it’s highly unlikely it would’ve been Neil Gaiman, as nice as that might have been.
At the time I was nearing graduation and about to go off to college to earn an expensive degree in pursuit of my lifelong — all 18 years of it — ambition to be a writer, Gaiman was just the writer of The Sandman (and a few other pretty great comics), and was, in fact, nearing the final story arc of that seminal series. At that point in my life, I certainly would’ve liked advice from the writer of one of my favorite comic series.
In the years since, Gaiman’s bona fides have only increased. In addition to writing comics, he’s written novels for adults and kids, he’ s written picture books, he’s written screenplays, he’s seen his works adapted into television and film, and he’s enjoyed the rarefied position of being a writer whose works are not only popular, but acclaimed, as well as being almost universally beloved in the field of comics, an industry with more than its fair share of crooks and cranks, of drawn daggers and venom.
Who better to offer advice to a young person about to embark — or at least attempt to embark — on a life in the arts, particularly a young person who would like to be a successful, professional writer of quality fiction? Someone who might want to grow up to be someone like, say, Neil Gaiman?
Manga | While Hajime Isayama’s Attack on Titan has been burning up the bookstore sales charts in the United States, the dystopian manga is also giving the smash-hit One Piece a run for its money in Japan. According to market research firm Oricon, Attack on Titan sold more than 15.9 million copies in the past year, just behind One Piece‘s 18.1 million (Kuroko’s Basketball is a distance third with about 8.8 million). Of course, Eiichiro Oda insanely popular pirate manga has little to fear: The 72-volume (and counting) series has 300 million copies in print in Japan, and 345 million worldwide. Kodansha’s Attack on Titan, meanwhile, is on its 11th volume. [ICv2]
Auctions | Select titles from Don and Maggie Thompson’s collection of rare comics — among them, The Avengers #1, Journey Into Mystery #83 and The Incredible Hulk #1 — sold at auction last week for a combined $835,384. A 9.6 copy of Tales of Suspense #39 alone fetched $262,900. [Heritage Auctions]
“I knew what a movie script looked like, I’d seen them. But I couldn’t get my head around what a comic script was. And eventually, a marvelous comics writer, probably the finest writer of comics there’s ever been, a man named Alan Moore just showed me how to write comics. He sat down and said, ‘Right, right now, you write Page One, Panel One. And then you say everything that is happening in that panel.’ In this case, you know, you’d say, ‘Page one, panel one, Neil Gaiman and Tom Ashbrook are sitting in a studio, there’s paper all over the desk, there are great big microphones. Neil is talking, waving his hands around, doing an impression of Alan Moore. Tom is nodding sagely.’
It’s stage directions, and it’s a letter to an artist. And then underneath, you’d write Tom: ‘It’s stage directions'; Neil: ‘It’s a letter to an artist’ and those would be what would go into the word balloons. And Neil, thought balloon: ‘I’m so glad they got me that cup of tea.’ You put everything. As far as I was concerned, and still to this day, as far as I’m concerned a comic script is a 10,000 word letter to an artist. I would always get puzzled when people would say to me, ‘So you write comics! So you write the words that go in the balloons.’ And you’re going, ‘That’s absolutely the tip of the iceberg.’ What I’m doing is building the cake, and in those words I will tell the artist everything I want to be in the panel — the size of the panel, the shape. What you’re also doing is working with some of the most creative people in the world.”
— The Sandman writer Neil Gaiman, turning his interview with Tom Ashbrook for the WBUR radio show On Point into a comic script on the spot
“It was terrifying. It was really, really scary. It was mostly really scary because — at the beginning of writing Sandman, nobody expected anything. All I wanted was not to be canceled. Back then, DC Comics had a really nice system, where they would give you a year to save face for everybody. So I knew I had twelve issues, and I loved the fact that I had my twelve issues. That was great! All I wanted was not to be canceled at the end of issue twelve, not to get the phone call.
Back then, I wasn’t nervous. Nobody was looking, nobody cared. Since then, “Sandman” has sold millions upon millions upon millions of graphic novels. You have a generation that grew up reading them, and then a younger generation that got infected. Now, I will do signings and it’s kind of weird that I’ll be signing copies of “Sandman” graphic novels for people who were not born when the first issues came out.”
– Neil Gaiman, on sitting down to write the six-issue Sandman: Overture