REVIEW: Violent, Profane "Deadpool" Shouldn't Work, But Really F---ing Does
Manga | Viz Media announced Friday it will publish a print edition of One-Punch Man, which managed to garner an Eisner nomination in its digital-only format. Zainab Akhtar provides some background on the book and reproduces a review by David Brothers. [Comics and Cola]
Conventions | Scott Eric Kaufman follows Devin Pike, one of the organizers of Dallas Comic Con, throughout the three-day event and gets a good look at what goes on behind the scenes: “As I witnessed these lines [of fans] snakes down corridors and spill into causeways, they began to seem like a physical manifestation of the passion fans have invested in these individuals and the iconic characters they’ve played, and it’s up to people like Devin to ensure that that passion is rewarded with an experience that is, if not equal to it, at least a reflection of it.” [Salon]
As the average price of serially published, traditional-format comics has risen sharply over the past few years, I’ve gradually turned into a trade-waiter, my pull list shrinking to such a meager size that many Wednesdays I’ll skip what was once a religiously observed weekly pilgrimage. It’s not worth a trip to the shop for one or two books, after all, so I’ll sometimes wait three weeks or so, allowing for a sizable stack to build up.
This was one such week, and I left the shop with a pretty good haul, about $45 worth of 14 comics, including a mess of DC weeklies, a pair of Marvel comics, a trio of high-quality kids titles, the latest issue of a locally produced horror series, a Batman/Green Hornet crossover and an issue of one of IDW’s many Teenage Mutant Ninja Turtles comics.
My pull list is now so small and carefully cut that I rarely encounter a book I don’t like any aspect of (generally, when I do buy a comic I have negative feelings about, they’re generated as much by disappointment as anything else). The flip-side is that because I take relatively few chances as a consumer (as opposed to a critic; as a critic, I read pretty much anything with panels on paper that I find in front of me), I’m rarely pleasantly surprised by what I bring home.
This week, I read one comic that was so good that I was genuinely taken aback by its awesomeness; I was surprised and super-excited. I wanted to stand up and shout “Yeah!” but I was in a coffee shop at the time. I wanted to high-five the artist, but he wasn’t within arm’s reach. I wanted to scrap what I was planning to write about in this space today and champion the book instead. I wanted to take the opportunity to say, “Hey everyone! Stop what you’re doing and read this comic right now!”
Manga | The 13th volume of Hajime Isayama’s hit dystopian fantasy Attack on Titan sold 1.4 million copies in Japan during its first week of release: 1.13 million copies of the regular edition, and 270,000 of a special edition that includes the original video animation. Kodansha ordered a 2.75 million-copy initial print run, a record not only for the series but for the publisher as well. The 66th volume of One Piece holds the record in Japan for highest sales in the first week with nearly 2.3 million copies. [Crunchyroll]
Publishing | Darren Davis of Bluewater Productions, talks about the evolution of his company and the origin story of its Female Force bio-comics line: “[W]e saw a comic book done of Barack Obama and John McCain during the 2008 elections, and my partner joked and said, ‘Why don’t we do Hillary?’ And I thought, oh my God, that’s a brilliant idea.So I thought, let’s do this, but let’s do it differently. Let’s not do it like everyone else, with a boring biography. We did it with a female empowerment angle. We released Hillary Clinton and Sarah Palin at the same time, and whether you like Sarah Palin or hate Hillary Clinton, you have to respect both of them for where they came from and who they are.” [The Beaverton Leader]
Our annual “Looking Forward, Looking Back” feature continues, as we ask various 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 final round, we hear from Vito Delsante, Jacq Cohen, Mark Sable, Dean Haspiel, Joshua Williamson, Jordie Bellaire, Paul Allor, Adam P. Knave, Tim Gibson, Bryan Q. Miller, Nathan Edmondson, Ann Nocenti, Jason Latour, Paul Tobin, Ming Doyle, Jeff Parker, Francesco Francavilla and Gabriel Hardman.
And if you missed them, be sure to check out Part 1, Part 2, Part 3, Part 4, Part 5 and Part 6 where we heard from Jimmy Palmiotti, Tim Seeley, Chris Roberson, Kurt Busiek, Faith Erin Hicks, Tyler Kirkham, G. Willow Wilson and many more.
Events | The Billy Ireland Cartoon Library & Museum at Ohio State University steps into the spotlight for the Grand Opening Festival of Cartoon Art, which celebrates the library’s move to a new 30,000-square-foot home on campus. The library’s extensive collection includes more than 300,000 original comic strips, 29,000 comic books, 45,000 books and 2,400 boxes of manuscripts, personal papers and the like. The festival, held today through Sunday, includes such guests as Eddie Campbell, Gilbert Hernandez, Jaime Herandez, Jeff Smith, Paul Pope, Hilary Price, Kazu Kibuishi and Dylan Meconis. [The Associated Press, The Columbus Dispatch, Columbus Alive]
Creators | Art Spiegelman talks about history, Maus, and being the creator of Maus: “I have to keep moving as best I can through the shadow of something that I’m glad I had pass through me.” [Tablet]
Paul Allor is turning 35 on Oct. 3, and he’s celebrating by giving a few presents — to the Comic Book Legal Defense Fund and The Hero Initiative. “It’s my birthday present to two of my favorite service organizations,” Allor says.
The CBLDF helps defend free-speech cases involving comics, while The Hero Initiative provides a safety net for creators who are in need of financial help.
Writer Jeremy Holt sure got people talking—er, tweeting—on Wednesday when he tweeted “…I don’t believe in upfront pay when producing creator-owned comics. Corrodes the team.” Holt does believe in sharing revenues with the artist, but he is quite vehemently opposed to just paying the artists for their work. Here’s more:
From my experience, artists mostly interested in pay don’t truly care about the project.
It’s not that I refuse to pay artists. I can’t. If they want to work on spec, that’s their prerogative.
Paying collaborators have never yielded the results I want.
Last time I did I was left with an incomplete project after spending $2500 as the artist went MIA. Paychecks can’t be the goal.
Artists I’ve worked with that only want $$$ never spent the time to discuss/collaborate on the project.
They more often than not were juggling other paying gigs to make more $$, and our work suffered.
you’re a good dude, but if an artist getting paid is killing their interest in your work, maybe the problem’s with your work
Coming up this weekend at Emerald City Comicon, writer Paul Allor (Table G-01) will have advance copies of the first issue of Strange Nation, his new Action Lab Comics miniseries with artist Juan Romera. The book’s premise is straightforward: Norma Park is a journalist who finds herself out of work after claiming to uncover a story involving Sasquatch, aliens and mad scientists. Her insistence at delving deeper into this story is when the real fun begins. In addition to offering an advance copy of the first issue this weekend, Allor will also make it available for Fabletown and Beyond (March 22-24, 2013, in Rochester, Minnesota). The full miniseries will hit stands in late 2013 in comic stores and through digital distribution outlets. In anticipation of ECCC, Allor joined me for a brief interview, and provided ROBOT 6 with a five-page previews.
Tim O’Shea: How long has Strange Nation been in development, and what prompted you to tap Juan Romera as the artist?
Paul Allor: I probably started working on the pitch for Strange Nation a little more than a year ago. Juan was the first person I had in mind for the art, having worked with him previously on “Reach the Sun.” one of the stories in my Clockwork comics anthology (which Robot 6 interviewed Allor about in 2011). Juan is awesome at both the wacky, out-there aspects of the book, and also at nailing the small emotional moments. I thought this book would be a great place to showcase both sides of that.
Publishing | The Penguin Group plans to wade into the market for children’s graphic novels with a new line aimed at middle-grade and young-adult readers. “Clearly it’s a huge, growing market, the kid’s graphic novel market,” Penguin’s Rich Johnson told ICv2 at New York Comic Con. “You see those titles making the bestsellers list all the time. So we are looking to do work in that area to get more kids reading comics.” [ICv2]
Creators | Feisty as ever, Stan Lee talks about his World of Heroes YouTube channel and breaks up the camera crew a couple of times in an interview shot New York Comic Con. [MTV Geek]
Happy Labor Day, Americans, and welcome, everybody, to What Are You Reading? Today our special guest is Paul Allor, writer of IDW’s Teenage Mutant Ninja Turtles spinoff, Fugitoid, as well as his own anthology Clockwork.
To see what Paul and the Robot 6 crew have been reading, click below:
As noted at the book’s website, the 12 stories in writer Paul Allor’s Clockwork Volume 1 “defy genre lines, taking you on a journey from the Old West to outer space, from death row to a child’s home … Allor is joined by some of today’s most exciting artists, including JM Ken Niimura, Brett Weldele and Nikki Cook”. After being introduced to the work online, I wanted to email interview Allor about the first volume of his project (with the second volume in development) as well as his work with Comics Experience and the writers group, The Brutal Circle.
Tim O’Shea: When did you realize that you wanted to pursue a project like the 12 short comics in Clockwork, Vol. 1?
Paul Allor: Last year I took a comics writing course through Comics Experience, which is run by former Marvel and IDW editor Andy Schmidt. In that class, Andy told us that writing a strong and complete five-page comic is actually harder than writing a longer work.
I really took that to heart. So, after the class ended, I decided to continue honing my craft on stand-alone five-page stories. Clockwork, Volume 1 features 12 of them, and another 12 are currently in production for Clockwork, Volume 2.