Fletcher & Wu Discuss Rocking Out on DC's "Black Canary"
Telltale Games has released the red-band trailer for the second episode of its adventure series The Wolf Among Us, based on Bill Willingham’s Vertigo fantasy Fables.
Set 30 years before the events of Fables #1, the game allows players to control Bigby Wolf as he investigates the gruesome murder of a Fable, which leads to an even bigger mystery. The new episode, titled “Smoke & Mirrors,” is expected to debut next month, although Telltale teases only that it’s “coming soon.”
The Wolf Among Us premiered in October across multiple platform. You can read the Comic Book Resources review of the first episode here.
“I think it’s very interesting that you bring up Shia because I just brought him up to Mike [Carey] the other day. I was proposing that we introduce a character based on him, because he does crystallize a lot of what we talk about. We’ve had a lot of discussion about whether copyright is a good thing or a horrible thing. What would happen if Superman was copyright-free? And people could add onto his story? Maybe we would end up with incredibly powerful stories that add a whole dimension of life to our existence because they would be able to build in a way that they can’t build otherwise. I don’t know. On the other hand, I want to get paid for what I do. […] I think we should write to Shia and his people for permission to use him and his likeness in our story. If they said ‘No,’ it would bring up a lot of interesting issues. Wouldn’t it?”
– The Unwritten co-creator Peter Gross, commenting on Shia LaBeouf, the public domain and storytelling, in an interview with Comic Book Resources
Passings | Animator and blogger Michael Sporn died Sunday in New York City from pancreatic cancer. He was 67. Sporn’s short film Doctor DeSoto, based on William Steig’s book, was nominated for an Oscar, and his The Man Who Walked Between the Towers won several awards. He created animated adaptations of a number of children’s books, including Lyle Lyle Crocodile and Goodnight Moon, for HBO. In comics circles, he was also known as a blogger who turned up cool bits and pieces of animation and art. [Variety]
Publishing | Torsten Adair crunches some numbers from The New York Times 2013 bestseller lists, looking at each category and, in some cases, each publisher separately and breaking down the charting books into easy-to-follow pie charts. [The Beat]
Before Scott Snyder began writing Batman and became the hottest writer at DC Comic and an overall direct market darling, garnering high sales and high praise for his work on the title, he was penning the Vertigo series American Vampire. Sharply written and clever in its conception and execution, it infused a longtime staple of fantasy literature with some fresh ideas, and was also both good and well-received (that Stephen King was writing back-ups in it for a while probably didn’t hurt any, either).
Not long ago, Snyder returned to Vertigo for another series scarily reinventing a legendary creature with The Wake, drawn by fellow Sean Murphy (Joe The Barbarian, Punk Rock Jesus, some Hellblazer), with whom Snyder previously collaborated on American Vampire miniseries (2011’s Survival of the Fittest). This time the jump from ordinary to scary is a lot further, as Snyder’s not reinventing vampires, but mermaids of all things.
Well, mer-people, I guess, as they all look rather androgynous, like sci-fi creatures from the black lagoon from the waist up, rather than pretty naked ladies, and, of course, fish from the waist down. Mer-creatures, then. Or maybe mer-monsters.
Passings | Chris Bird pens an obituary for Leon Kuhn, a British cartoonist who was active in socialist and progressive causes and whose work appeared regularly in the Morning Star as well as in The Big Book of Bureaucrats. He often marched in demonstrations carrying placards of his cartoons. Kuhn died last week at age 59; the sole news article about his death simply says he “died under a train” at a London subway station and that the death is not being treated as suspicious. [Counterfire]
Manga | ICV2 rounds up Viz Media’s announcements for the beginning of 2014, including three new series. [ICv2]
Creators | Jonathan Hickman and Tom Brevoort talk about Avengers #24.NOW, which kicks off the All-New Marvel NOW initiative. [USA Today]
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.
While the original 2002, five-issue miniseries was in color, the 128-page trade collection ($19.99) will be in black and white but will feature two new pages by the Love and Rockets co-author.
ROBOT 6 readers with good memories might recall that I wrote about Grip earlier this year, lamenting that it was, to my knowledge, the only work by Hernandez that had never been compiled into book form.
To describe Grip’s plot takes some effort, as this is one of Hernandez’s more surreal and deliriously and wacky stories, involving a wide cast that includes an amnesiac young man, a pair of police detectives, a trio of Amazonian adventurers, another trio of gun-wielding gangsters, a sweet little old lady, a dwarf couple and a little girl with an eyepatch. As I wrote in May:
The story begins with the amnesiac young man wandering around a nondescript city and being assaulted by some of the people mentioned above for reasons that are murky at best. The story takes an even stranger left turn, however, when the man literally loses his skin at the end of the first issue and starts walking around beaches spouting seemingly half-remembered phrases. The skin starts to take on a life of its own as well.
2013 has blessed us with a bumper crop of great books by Hernandez that includes the critically acclaimed Marble Season and Julio’s Day, as well as Children of Palomar and Maria M. With Dark Horse planning to release Grip in addition to the collected edition of his more recent Fatima miniseries, it seems as though 2014 will continue that trend well into the new year.
I talked with Hernandez over the phone a few days before Thanksgiving about the new collection, the not-so-secret origins of Grip, and what else he’s working on.
“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
With the holidays rapidly approaching, you may be wondering what to buy that special Neil Gaiman fan in your life. If you have a generous budget, and really like this person, you may want to consider the limited-edition Sandman Omnibus Silver Edition from DC Comics.
Like the standard Omnibus, it’s a two-volume hardcover collection of the entire 75-issue run of The Sandman, released to commemorate the 25th anniversary of the landmark series. Of course, it comes with additional bells and whistles, like a slipcase, silver-gilded pages and a numbered art page autographed by Gaiman himself. Only 500 copies will be printed, so you’ll score serious points with that Sandman enthusiast.
But here’s where you have to decide just how special that Gaiman fan is to you: The Sandman Omnibus Silver Edition costs a whopping $499.95 … plus shipping. It’s limited to one per customer, in case you had any ideas about stocking stuffers.
Vertigo has debuted the television commercial for The Sandman: Overture, the new miniseries by Neil Gaiman and J.H. Williams III. The DC Comics imprint is billing the comic as “the first new Sandman story in 17 years,” which seems to overlook the 2003 graphic novel The Sandman: Endless Nights.
There’s no word yet as to where the ad will air, but last year’s Before Watchmen campaign was in heavy rotation on IFC, BBC America and (the now-defunct) G4.
The Sandman: Overture #1 was released Oct. 30.
I really like Halloween, but it’s always been hard for me to come up with a spooky post that relates to DC Comics. The emphasis here is on “for me”: DC has a wealth of spooky material from which to draw, and I’ve just never been able to work with it meaningfully.
For this year’s Halloween post I thought about doing a survey of DC’s horror-themed titles over the years, because certainly the publisher has had its share. There are stalwarts that go back decades, like House of Mystery, Swamp Thing and The Sandman (whose sequel miniseries starts this week, as you might have heard). The first round of New 52 titles included I, Vampire and Frankenstein, Agent of SHADE — and while both of those have bitten the dust, Justice League Dark still heads up the superhero line’s magic-oriented section.
However, the more I thought about it, this space is really not big enough — yes, even with my extreme verbosity — to do right by the horror books. Besides, most of them have ended up at Vertigo, although some are being reincorporated into the superhero line. House of Mystery is a good example of the “serious horror” migration. It started out in the ‘50s as a supernatural anthology before switching over to science fiction (after the fall of EC) and then, briefly, superheroes (specifically, the Martian Manhunter and “Dial ‘H’ for Hero”). When the Comics Code relaxed its stance on all things scary, HOM told horror stories, including an extended run as the original home of “I, Vampire.” The title ended in 1983, after 32 years and more than 300 issues, but it’s never really been forgotten. The House itself (along with its companion from another eponymous title, the House of Secrets) became a part of The Sandman’s landscape, and was the setting for a Vertigo relaunch, which ran from 2008 to 2011 (42 issues and a couple of specials). Now it belongs to John Constantine and serves as Justice League Dark’s headquarters, which I suppose is better than limbo.
Graphic novels | Graphic novel sales are up 6.59 percent in comics shops, and they are also up in bookstores, according to the latest issue of ICv2’s Internal Correspondence. Sales have been increasing in the direct market for a while, but this is the first uptick in bookstore sales since the economy crashed in 2008. There seem to be several factors, including the popularity of television and movie tie-ins — the success of DC’s graphic novel program linked to Man of Steel is singled out — and a turnaround in manga sales. The article winds up with lists of the top properties in a number of different categories. [ICv2]
Digital comics | Here’s today’s news article on Crunchyroll’s new digital manga service, which offers same-day releases of 12 Kodansha manga titles for free and an all-you-can-eat service for $4.99 a month. Tomohiro Osaki interviews Japanese publishing insiders, who are upfront about the fact that this is an attempt to compete with pirate sites, and translator Matt Thorn, who says that better translations on the official site may lure readers away from scanlations. [The Japan Times]
To celebrate the 25th anniversary of The Sandman, Neil Gaiman looked back to the very beginning of the acclaimed series to answer a lingering question: What left the mighty Lord of Dreams so weakened that he was able to be imprisoned for 70 years?
“We learn, as the story goes on, that he arrived in England exhausted, dressed for war, from somewhere very far away, and that was why they captured him so easily,” Gaiman told Fast Company ahead of the Wednesday debut of The Sandman: Overture, his six-issue collaboration with J.H. Williams III. “But I never told that story. And it’s big, and it’s very weird.”
However, over the course of the The Sandman‘s 75-issue run, there were at least two other untold tales that are certainly just as big, and undoubtedly just as weird — and they both involve the letter D (naturally).
“If we ever get to the 50th anniversary, I may tell the story of how the character of Delight became Delirium, or the story of how the first Despair died,” Gaiman teased. “But that’s the 50th anniversary, so there’s plenty of time.”
Although Destruction, who long ago abandoned his Endless duties and disappeared, was found during the series, Delight’s transformation into Delirium was a mystery to which not even Destiny knew the answer. And while clues were dropped about the death of the original Despair — she even appeared in 2003’s Endless Nights — readers were left wondering about the details, including who was behind it.
But, hey, we can hold out until 2038 for the answers, right?
“I started to feel an enormous amount of sympathy and empathy for Charles Dickens, because he was doing the same thing – a serialized story. And I started reading Dickens in a very, very different way. While writing The Sandman I’d go, ‘Ah, this is part of the big plot that you absolutely know what you’re doing, and this bit is you going, “I’m not quite sure what I’m doing here, so I’m gonna busk a little bit. And this is you just bringing on a character and just going I know I’ll find a use for you somewhere down the line.”‘ These days, probably the nearest thing to it outside of comics would be serial television, if you had just had one writer. […] But the one thing that TV has is the same thing wonderful thing that Dickens had, and same thing that I had – to be able to take stock of what you’re doing and what’s working as you go, to the point where you bring on somebody who was a little better than an extra and you go, ‘Actually, everybody really likes that guy and we like that guy! Let’s bring him back and have him do something else.’ And by season two he’s one of the stars and nobody actually remembers that he wasn’t even in the original outline. There were definitely things when I was writing Sandman that were like that. And in a peculiar way, there are moments when I’m writing Overture where I get to do little things that set up for later things that I wasn’t expecting.”
— Neil Gaiman, reflecting on writing The Sandman on a monthly basis, in an interview with RollingStone.com