While American Vampire is currently on hiatus, creators Scott Snyder and Rafael Albuquerque have killed time until its return by releasing various specials. Earlier this summer we saw The Long Road to Hell, and this past Wednesday brought the American Vampire Anthology, featuring vampire tales by Becky Cloonan, Francesco Francavilla, Gail Simone, Greg Rucka, Jason Aaron, Gabriel Ba, Fabio Moon, Jeff Lemire, John Paul Leon, Declan Shalvey and many more.
Anthologies can be hit or miss from story to story, but how did this one do? Here are a few reviews from around the web:
The Irish company that prompted Vertigo to change the title of the new series by Simon Oliver and Robbi Rodriguez from Collider to FBP: Federal Bureau of Physics is now hoping to exploit the situation to its own advantage.
Trumpeting its victory in “a battle against DC Comics/Vertigo,” the Dublin-based beActive issued a press release Tuesday promoting its own Collider while gently chiding the American publisher for its lack of diligence. “The Irish company published the COLLIDER comic book series worlde [sic] in 2012, therefore claiming ownership of the brand,” the release states. “In January 2013, COLLIDER even made the TOP 5 on Comics Plus, the largest online comic book store in the U.S.”
While it’s not unheard of for a publisher to change the name of a comic before publication because of a trademark conflict, in this instance, the announcement came more than a week after the release of Collider #1.
As Oliver recounted last week to Comic Book Resources, “The first issue’s printed and being loaded on the trucks and we get a call from legal to tell us that someone else, on the other side of the globe says that they have creative dibs on the name ‘Collider’ and we have to change our title.” The second issue, out Aug. 28, will bear the title FBP: Federal Bureau of Physics.
Jeff Lemire’s next big project for Vertigo, following his run on Sweet Tooth, kicked off this week. Trillium #1 sees Lemire return to both writing and art duties after a few months of focusing just on the writing half of the equation with comics like Green Arrow and Animal Man. Reuniting with colorist Jose Villarrubia, who worked with him on Sweet Tooth, Lemire “combines rich historical adventure and mind-bending science fiction into a sprawling, unconventional love story.” Plus, it’s a flipbook!
What did people think of the first issue? Here are a few thoughts from around the web.
Conventions | Boston Comic Con is coming this weekend, and founder Nick Kanieff talks about how it has grown from 900 attendees at the first con, in 2007, to an expected 15,000 for this year’s event, which was rescheduled because of the Boston Marathon bombings. [MetroWest Daily News]
Publishing | Denis Kitchen discusses the return of Kitchen Sink Press to publishing as an imprint of Dark Horse. It kicks off in December with an anthology, The Best of Comix Book. [Publishers Weekly]
Creators | Peter Steiner’s cartoon, captioned “On the internet, nobody knows you’re a dog,” is the most-reproduced cartoon in the history of The New Yorker. On the 20th anniversary of its publication, Steiner looks back on its creation, which came about almost by chance, and the ways the world has changed in the interim. One interesting nugget: The most-reproduced cartoon in The New Yorker has brought its creator a total of $50,000 in royalties over the past 20 years. [Comic Riffs]
Legal | Kevin Lim and Evaline Danubrata add some context to the story of Singaporean cartoonist Leslie Chew, who was charged Thursday with contempt of court for several cartoons critical of the Singapore courts that appeared on his Facebook page Demon-cratic Singapore. This isn’t the first time Chew has run afoul of authorities; he was charged with sedition earlier this year for alleging official discrimination against the Malay population. Singapore recently enacted a law requiring licenses for news sites that report regularly on the country, a move that critics of the ruling People’s Action Party see as an attempt to silence dissent. [Reuters]
Retailing | Comic-store owners in the Tampa Bay area agree that sales are up, but they differ on the reasons why. [The Tampa Tribune]
Even before Vertigo was Vertigo, it had a distinct policy of signing great cover artists for the long haul for ongoing titles. I fondly remember Dave McKean on The Sandman and Hellblazer, Simon Bisley on Doom Patrol, Brian Bolland on Animal Man and Brendan McCarthy on Shade, the Changing Man. This is a policy that has continued on to the present day: Yuko Shimizu has produced amazing covers for The Unwritten since its debut; king of the good girl artists Adam Hughes has been providing Fairest with the best work of his career so far; and Fables had a long outstanding run by James Jean, before he ceded the job to Joao Ruas. As much as I love the work of J.H. Williams III, it was seeing McKean’s cover for The Sandman: Overture #1 that made the project feel real.
In terms of total commitment to a book, however, no one can match Dave Johnson on 100 Bullets. He drew covers to all 100 issues, shifting styles for each story arc. He drew the covers to all 13 trade paperbacks, and now he’s providing the ones for the eight-issue sequel-of-sorts Brother Lono. On Tuesday he posted this image to his assorted social media feeds: the covers to the five omnibus editions, which together create an extended frieze.
As the Comic-Con International hangover sets in and the industry goes silent while creators, editors, publishers and publicists stagger home from San Diego, we’ll take a few minutes to try to collect the comics-related highlights of this year’s event. We’ll attempt to update as more panel reports appear and other information trickles out.
• Saga by Brian K. Vaughn and Fiona Staples, Hawkeye‘s David Aja, and Building Stories by Chris Ware were the big winners at the 2013 Eisner Awards.
• At Diamond Comic Distributors’ Retailer Appreciation Lunch, Marvel teased the arrival of Marvelman — it’s been four years since the publisher revealed it had acquired the rights to the property — and, scheduled for January, a new wave of Marvel NOW! titles. In convention panels, the company announced: Wolverine: Origin II, by Kieron Gillen and Adam Kubert; the return of Nightcrawler in the first arc of Amazing X-Men, by Jason Aaron and Ed McGuinness; the November debut of Longshot Saves the Marvel Universe, by Chris Hastings and Jacopo Camagni; “Afterparty,” a two-issue arc of Young Avengers that celebrates Gillen and Jamie McKelvie’s first year on the series; Steve McNiven will join Rick Remender in November on Uncanny Avengers; Cataclysm: The Ultimates Last Stand, a Galactus-focused Ultimate Universe event by Brian Michael Bendis and Mark Bagley; and the January-launching Revolutionary War, in which writer Andy Lanning and “various superstar artists,” will resurrect some of the Marvel UK characters.
As the finishing touches are put on Comic-Con International ahead of Preview Night, The Hollywood Reporter releases an interview with DC Entertainment President Diane Nelson that’s a blend of polite sidestepping of delicate or unannounced subjects — the departure from Warner Bros. of her boss Jeff Robinov, Man of Steel 2, the long-developing Justice League movie — and insight into how the media giant views the DC properties.
Naturally, given the outlet, much of the discussion involves film and television, with Nelson addressing why she thinks Man of Steel succeeded while Green Lantern didn’t, and why DC’s movie plans have been developing so slowly, the conversation veers a little closer to comic books when she’s asked what five characters she’d like to seen on the screen.
“Sandman is right on top,” Nelson responds. “I think it could be as rich as the Harry Potter universe. Fables. Metal Men. Justice League. And yes, I’m going to say it: Aquaman.”
Welcome to “Report Card,” our new week-in-review feature. If “Cheat Sheet” is your guide to the week ahead, “Report Card” is a look back at the top news stories of the previous week, as well as a look at the Robot 6 team’s favorite comics that we read. And what a busy week it was, as, despite there being a major U.S. holiday, we saw a lot of publishing news coming out of Image Comics and Vertigo, and quite a few great comics.
So read on to find out what we thought of the first issues of Batman ’66, Superior Foes of Spider-Man, Deadpool Kills Deadpool and more.
While many of us were enjoying our holiday, Comic-Con International organizers were busy releasing the programming schedule for Thursday, July 18, the first full day of the San Diego convention. The rundown for Friday, July 19 should come along early this afternoon.
As we’ve come to expect, Thursday’s lineup is a healthy mix of comics, television, toys, fantasy and film (although light on the latter, which take center stage on Friday and Saturday). The comics programming includes panels from Avatar Press, Bongo Comics (it’s the publisher’s 20th anniversary), BOOM! Studios, Dark Horse, DC Entertainment, Kodansha Comics, Marvel, Monkeybrain Comics (it’s that publisher’s first anniversary), TwoMorrows, Vertigo, Viz Media and Warp Comics.
However, that’s only for starters, as there are spotlights on Chris Samnee, Jeff Smith, J.H. Williams III, Dan Parent and Gary Frank, The Walking Dead‘s 10th-anniversary panel, and discussions about digital comics, gender in comics, LGBT webcomics and much, much more.
Check out some of the comics-related highlights below, and visit the Comic-Con website for the full schedule:
The New York Times premiered a small image of the cover for The Sandman: Overture #1 in its article about concentrated efforts to rebuild Vertigo, but artist J.H. Williams III wasn’t happy with how dull it appeared on the newspaper’s website. And so, lucky for us, he’s revealed super-sized versions on his own blog, both with text and without.
Debuting Oct. 30, the bimonthly six-issue miniseries details the events that led Morpheus to be exhausted and so easily captured in 1989′s The Sandman #1. Boasting covers by Williams and original series cover artist Dave McKean, the title will alternate with The Sandman: Overture Special Edition, which includes Gaiman’s original scripts, Williams’ concept art and sketches, interviews with the creative team and more.
If the recent New York Times profile of former Vertigo Executive Editor Karen Berger — to say nothing of industry sentiment — made it appear as if the position and prestige of the 20-year-old imprint have been greatly diminished under the restructured DC Entertainment, the company would like to assure you otherwise.
A new Associated Press article, which seems tailored in response to that May 29 piece, turns the spotlight away from Berger and on to her successor Shelly Bond, who has worked at the imprint since its launch in 1993.
The Times contends that Berger’s departure in March “raises questions about the future of Vertigo and where its renegade spirit fits into an industry and a company that seem increasingly focused on superhero characters who can be spun off into movies and TV shows.” However, Bond speaks in rosier terms about the direction of the imprint, which lost its last founding title — and longtime flagship — in February with the end of Hellblazer (which was resurrected in the DC Universe as Constantine).
“I am so ready to bring in some new blood and new bravado and just continue to show the masses that comics are the most essential part of pop culture,” she tells The AP.
In March, DC Comics debuted Constantine, a new series focusing on the hard-living occult detective John Constantine. No big deal, right? Not so. For more more than two decades, the character was one of the pillars of the the publisher’s “mature readers” Vertigo imprint, starring in the long-running Hellblazer.
Following brief minor dalliances in some event titles in 2010 and 2011, Constantine was made a key figure in the New 52 title Justice League Dark. The aforementioned Hellblazer ended earlier this year with its 300th issue, paving the way for a full-fledged transition of the Liverpudlian warlock into the realm of superheroes. Readers greeted the new Constantine series with both hope and trepidation, and although the first issues are out — so is the jury.
With that in mind, it’s interesting to look at other characters that have called Vertigo home, and how they might fare in the DC Universe of the New 52. Some, like Constantine, crossed over with a bang, while others like Lucifer Morningstar and Kid Eternity, not so much. For this installment of “Six by 6,” I pinpoint six characters or teams that could possibly make the transition well. Please note than many of Vertigo’s best-remembered series aren’t wholly owned by DC but rather in creator-participation deals like Preacher, Transmetropolitan and 100 Bullets; so while the idea of Spider Jerusalem reporting on the state of things in Gotham City might be amusing, I’ve left those off the table for reality’s sake.
In the recent New York Times profile of former Vertigo Executive Editor Karen Berger, Dave Itzkoff writes that DC Comics Co-Publisher Dan DiDio “said it would be ‘myopic’ to believe ‘that servicing a very small slice of our audience is the way to go ahead.’” It’s a weird way to structure the quote, but assuming Itzkoff is accurately capturing what DiDio meant, that’s a controversial stance for DC to take.
But he kind of has a point. Heidi MacDonald rightly notes that Vertigo books make up roughly one-third of DC’s list of essential graphic novels, but if we’re just going by sales, Vertigo’s slice of DC’s pie does look pretty small. According to Diamond Comic Distributors, just 6 percent of DC’s graphic novels in April’s Top 100 were Vertigo titles. The percentage was a lot higher in March (15 percent), but only 7 percent in February. The number of Vertigo titles in the Top 100 has been pretty consistent in the past three months: two or three. What made the difference in March was that DC had less Top 100 titles overall. Of course, that only covers a short amount of time and only includes direct market sales, but if we look at a list of what DC considered its top-selling graphic novels as of last autumn, only about 13 percent of those are from Vertigo. None of that is super-scientific, but it paints a pretty good picture of how much Vertigo contributes to DC in terms of sales.
Musician and comics writer Gerard Way once pitched a Batman miniseries to DC Comics titled Kingdom of the Mad, and this weekend on Twitter the former lead singer of My Chemical Romance started sharing some of the concept art.
The designs are “from a comic I pitched to DC the year Gab[riel Bá] and I won the Eisner” in 2008 for The Umbrella Academy, Way said on Twitter. He notes that it was approved and would have been released through Vertigo; however, he tweeted, he “Never got to write it. Sadface.”
Check out the cover and designs for Batman and Mr. Freeze below.