viz Archives - Robot 6 @ Comic Book Resources
Conventions | Vulture examines efforts by ReedPOP, producer of New York Comic Con and C2E2, to take a comic con-style approach to Book Expo America with BookCon, billed as “the event where storytelling and pop culture collide.” On Saturday, the final day of the country’s largest publishing trade show, the public is invited (for a $30 admission fee) to interact with authors and publishers, get autographs, attend film panels and even catch a sneak peek at an upcoming release. “You can see the Comic Con logic: Draw in rabid fans across genres and media any way you can,” Vulture’s Boris Kachka writes. “What publishers would like to know is whether they will come for the books — and eventually buy them.” [Vulture]
There are challenging characters, and then there is Hello Kitty. She’s a familiar face, but nobody really knows anything about her. She doesn’t appear to have a backstory. She doesn’t even have a mouth. And here she is, starring in her own graphic novel.
Jacob Chabot is one of several creators behind the Hello Kitty graphic novels published by Perfect Square, Viz Media’s kids’ imprint. He’s an old Viz hand at this point, having illustrated two of the publisher’s Voltron graphic novels, and his other work includes stints at Marvel (including the X-Babies comics), SpongeBob SquarePants comics, and his two-volume all-ages graphic novel The Mighty Skullboy Army, which is truly laugh-out-loud funny for adults as well kids.
Not only is Hello Kitty the tabula rasa of comics characters, the stories are wordless as well, which presents a whole different set of challenges. We asked Jacob to let us in on some of the details of writing the Hello Kitty story — and check out our preview of Hello Kitty: Delicious! after the interview.
Digital comics | ICv2 has a fascinating interview with Gagan Singh, Viz Media’s chief technology officer, in which he discusses not only the nuts and bolts of the publisher’s digital manga program — it now encompasses a number of e-reader platforms as well as a dedicated app — but also the larger questions of piracy, trends and, most importantly, growing the manga audience: “My favorite example is when you’re in the digital domain, your biggest competition is not the next manga or the next book, your biggest competition is Angry Birds because it’s only one click away. When you get into debate over mind share, I’m not just trying to get them to read the next book, I’m trying to get them to not listen to that song or play that video game. That is a bigger challenge where marketing and mind share is concerned.” [ICv2]
Creators | Jeff Smith, who was named last week to the board of the Comic Book Legal Defense Fund, talks briefly about the importance of the organization, and the 2010 challenge to his all-ages graphic novel Bone in a Minnesota school. [Comic Riffs]
Comics | Archie Co-CEO Jon Goldwater, writer Roberto Aguirre-Sacasa and artist Francesco Francavilla have a few things to say about the new zombie series Afterlife With Archie. “We are taking a series of characters known to be lighthearted and young adult-oriented and doing a horror comic with them, so the mood, atmosphere, and setting are very important to make this a believable horror and not a comedy horror,” says Francavilla, who’s also the creator of The Black Beetle. “Fortunately, I am really good at making things dark and ominous.” [The Associated Press]
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic 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.
If I had $15, my Wednesday haul would start with Glory #30 (Image, $3.99). This series has been great, and since Kris Anka began doing covers, it’s gone to very great. Now, seeing New Yorker cartoonist Roman Muradov coming in to do a story makes it potentially even more, well, great. I’m psyched to see Glory face off against her sister, and Campbell’s depiction of both has been mesmerizing. Next I’d pick up Comeback #1 (Image, $3.50), featuring letterer Ed Brisson making his major writing debut. The cover design by Michael Walsh is impeccable, and the concept of time traveling for grieving loved ones is a fascinating concept. Next up, I’d get a Marvel double – Wolverine and the X-Men #21 (Marvel, $3.99) and Hawkeye #4 (Marvel, $2.99). This carnie issue of Wolverine and the X-Men is intriguing; it’s going out on a limb, but after what Jason Aaron and Nick Bradshaw have done so far, I trust them. With Hawkeye, I’m slightly hesitant to pick up an issue knowing David Aja isn’t drawing it, but Javier Pulido has the potential to be an ideal temporary substitute.
If I had $30, I’d look back on my $15 and reluctantly put Hawkeye #4 back on the shelf to free up money for Derek Kirk Kim’s Tune, Book 1: Vanishing Point (First Second, $16.99). Man oh man, do I love Kim’s work, and seeing the previews for this online makes me see a honing of the artist’s style akin to the way Bryan O’Malley did between Lost At Sea and Scott Pilgrim. Count me in.
If I could splurge, I’d take a chance on the anthology Digestate (Birdcage Bottom Books, $19.95). I’m no foodie like C.B. Cebulski, but I like food and I like anthologies so this is right up my alley; especially when the chefs include Jeffrey Brown and Liz Prince. Where’s my order?
Legal | The prosecution has laid out its case in the trial of former 2000AD artist Brett Ewins, who was charged with “grievous bodily harm with intent” following a January incident in which he allegedly stabbed a police officer responding to complaints about a man shouting throughout the night. Ewins, who was diagnosed with paranoid schizophrenia years ago and is on medication for it, suffered cardiac arrest during the confrontation and was hospitalized for three weeks. He reportedly has no memory of the incident. The defense will contend that the blow to the head rendered him unconscious (like a sleepwalker) so he was not aware of what he was doing. [The Evening Standard]
Publishing | Matthew Garrahan’s profile of reclusive Marvel CEO Ike Perlmutter is somewhat sharper than the Los Angeles Times story linked last week, as it includes accusations that the 69-year-old billionaire threatened an employee, made a racially insensitive remark, and maneuvered Disney Consumer Products chairman Andy Mooney and three other executives (all African-American women who reportedly referred to themselves as “The Help”) out of their jobs. Nikki Finke follows up at Deadline with details of Disney and Marvel’s attempts at damage control, as well as the news that Disney has settled with the three former execs. [Financial Times]
Retailing | Comics shop veteran Amanda Emmert, executive director of the retailers’ association ComicsPRO and owner of Muse Comics in Colorado Springs, talks about retailing, the health of the industry, and the popular perception of comics shops as men’s clubs: “I have new customers who walk in and tell me how strange it is for a woman to work in a comic book store or a gaming store. Their experience comes more from watching The Simpsons and The Big Bang Theory, as you pointed out, than from seeing a great number of stores, though. I am very lucky to work for ComicsPRO; I get to work with hundreds of stores around the country, a large percentage of which are owned or operated by women.” [Colorado Springs Gazette]
Former Marvel editor Aubrey Sitterson has made the leap to the wonderful world of freelance writing. To mark this critical career jump, Sitterson stopped by Talking Comics with Tim to discuss his transition from editor to writer, as well as his current and upcoming projects — namely the Gear Monkey tale (by Sitterson with art by Nate Lovett) that appears in DoubleFeature Comics‘ digital release Fantasy Double Feature #3, and Redakai (for Viz Media). I was interested to learn why Sitterson lettered his own Gear Monkey tale, as well as to discuss his love of wrestling.
Tim O’Shea: You started out in the industry on the editorial side, but am I correct in assuming it was always in hopes of pursuing a full-time writing career?
Aubrey Sitterson: You’re ab-so-lutely correct, sir. While I really enjoyed my time editing comics, the goal has always been to transition into a comics writer. It was all part of my devious master plan to start at Marvel as an intern in college, get hired as an Assistant Editor, stick my finger in as many pies as I could, learn at the knee of two of comics’ best editors (Tom Brevoort and Axel Alonso) then strike out on my own in pursuit of Complete and Utter Comics Domination. I’m still working on that last part.
Passings | Jan Berenstain, who with her husband Stan created the popular children’s book characters the Berenstain Bears, passed away Friday at a hospital near her home in Bucks County, Pennsylvania. Berenstain, 88, had suffered a stroke earlier in the week. Since the release of The Big Honey Hunt in 1962, the Berenstain Bears series has grown to more than 300 books and sold about 260 million copies worldwide, inspiring animated television specials and series, museum exhibits and a stage show. Stan Berenstain passed away in 2005 at age 82. [The Washington Post]
Events | This year’s 24-Hour Comics Day will be held Oct. 20. [ComicsPro]
Comics | Here’s a variation on the comics-aren’t-for-kids-anymore theme, with reasonable parents who know they need to check what their kids are reading, and a retailer who gets it. [WNYT.com]
Just two weeks after Viz debuted Shonen Jump Alpha, its digital replacement for Shonen Jump, the publisher has forced a group of fan translators to stop posting chapters of a number of Viz series.
The scanlation group Mangastream posted the news on Saturday that Viz had forced it to stop releasing chapters of seven series, including the ultra-popular Naruto, Bleach, and One Piece, which are included in Shonen Jump Alpha. They couldn’t resist a snort of derision:
They’ve succeeded in little more than invoking inconvenience to the community as their digital magazine missed the mark; it runs several issues behind and only features 3 of the above series. So long as their product continues to be slow, awkward and inferior to something a ragtag group of nobodies can churn out in a few hours – fans will continue to look to scanlation groups and aggregators for their weekly fix.
This is the first time that I can recall (someone will probably correct me on this if I’m wrong) that a publisher has gone after the scanlators themselves, rather than the sites that carry their work. Onemanga.com, once one of the top 1,000 sites on the whole internet, and most of the other “free manga” sites are aggregators who depend on a handful of speed scanlators to bring them the latest chapters of the most popular titles. While shutting down those sites has proved problematic, cutting off their source of material may be more effective than a cease-and-desist letter. On the other hand, it may not: one aggregator site lists 363 translators for Naruto alone.
One fan took their complaint right to the source, the Shonen Jump forum:
Here’s good news for fans of the television show Smallville who were left without their fix in May when the series went off the air for good: DC announced today that Smallville is coming back as a comic, which will be released first in digital and then in print form. The series will be written by Bryan Q. Miller, who was a scriptwriter for the show, and will pick up where the television story left off. Pere Perez, who worked with Miller on Batgirl: The Flood, will handle the art, and the digital cover above is by Cat Staggs.
DC has an interesting strategy for this comic: It will launch as a digital comic on April 13, with a new digital chapter coming out each week. (No word on pricing or length.) About a month later, it will come out as a print comic, collecting the chapters and adding an episode guide; the first print comic is due out on May 16, and Gary Frank (Superman Secret Origin) will be doing the covers for the print issues.
The weekly chapters are an interesting twist. Not only do they mimic the timing of the original show, they make the comic more of an immediate experience, something people come back to frequently and discuss in real time, as opposed to a monthly event. IDW is doing something similar with its Transformers series Autocracy, publishing an eight-page digital chapter every two weeks, priced at 99 cents. And of course there’s Shonen Jump Alpha, the digital reincarnation of Viz’s Shonen Jump, which publishes a chapter a week of six different manga within two weeks of their Japanese release, with a teen-friendly price of 99 cents per issue (less if you get the yearly subscription).
Diamond has released its Silver Sponsor comics for Free Comic Book Day, meaning that the full array of FCBD comics is now before us. There’s quite a variety: Judge Dredd, Buffy, Gilbert Hernandez’s Marble Season, Smurfs, Donald Duck, Voltron, My Favorite Martian. There’s an anthology of Middle Eastern comics and a (censored) Howard Cruse comic. Over at The Beat, commenter Torsten Adair points out that BOOM! Studios is putting out a Dune comic that hasn’t been announced anywhere else—although the solicit text makes it clear that this is just the first of a series: “a must-have precursor to the epic launch of the adaptation of Dune books from BOOM! starting in July!” And Marble Season was only announced on Thursday. On the other side of the news cycle, the Oni Press selection, Bad Medicine, was first announced in 2008 and is just now coming to the surface—it isn’t even on Oni’s website. The writers are the extremely busy team of Nunzio DeFilippis and Christina Weir, and the art is by Christopher Mitten.
A few other observations: The Gossamyr comic from Th3rd World Studios features art by “talented newcomer Sarah Ellerton.” I don’t know who let that by, but Ellerton is anything but a newcomer; she has been making webcomics (Inverloch, The Phoenix Requiem) for close to a decade now, although it’s clear from the cover that her art has matured quite a bit. Viz is back in the FCBD game but not with their Shonen Jump samplers of years gone by; this year they are all about Voltron Force, and they were pretty excited about these graphic novels at NYCC this year. Yen Press is highlighting their adaptation of Cassandra Clare’s The Infernal Devices, which was announced at NYCC.
“We had a record amount of entries from publishers this year with more than forty-five different titles” said FCBD spokesperson Leslie Jackson. “Retailers on the committee had a tough time deciding on which titles to choose for Gold sponsorship, but we’re sure fans will be pleased with the line-up for next year.”
While the choices may have been difficult, it’s hard to imagine that someone couldn’t come up with something more enticing than what Image has to offer: “An anthology featuring all-new stories with a mix of Image’s old and new best loved characters!” Could you possibly get any vaguer than that? They don’t even have a cover design. If my comic got bumped for that, I’d be steaming. On the other hand, Archaia’s 48-page hardcover, featuring new material (not reprints or bits of something to come) looks mighty sweet, all the more so because they name names: A Mouse Guard story from David Petersen, a Jim Henson’s Labyrinth story by Ted Naifeh and Cory Godbey, a side story from Royden Lepp’s new graphic novel Rust, a Cursed Pirate Girl story from Jeremy Bastian, a Cow Boy story by Chris Eliopoulos and Nate Crosby, and a Dapper Men tale from Jim McCann and Janet Lee. There’s this year’s wow factor.
The line-up actually seemed pretty obvious to me, so I went back and looked at the Gold Sponsors for the past five years. Sure enough, six of the publishers are there every year: Archie, Dark Horse, DC, IDW, Image, Marvel. Since five of these are also Diamond’s premier publishers, and Archie is a newsstand juggernaut, there’s no surprise there. BOOM! Studios has been a Gold Sponsor for the past four years and Archaia for the past three. The other slots vary: Ape Entertainment was a Gold Sponsor in 2011 and 2010 but is missing this year, and Bongo and Oni are back after a two-year absence. Others who have popped up once or twice in the past five years: NBM/Papercutz (2011), Drawn & Quarterly (2010), Viz (2008 and 2009), Dynamite (2008), Virgin (2008), Gemstone (2007), and Tokyopop (2007).
There’s more to come: The Silver Sponsors will be announced next week.
Creators | Sarah Glidden, creator of How to Understand Israel in 60 Days or Less, chronicles her time at Occupy Miami Nov. 15-21 in a sketchbook. [Cartoon Movement]
Creators | Corey Blake follows up on the Bill Mantlo story published by LIfeHealthPro, including some clarifications of issues raised in the story and additional details on various fundraisers over the years to help pay for Mantlo’s care. [Corey Blake]
Creators | Harvard’s Berkman Center for Internet & Society Podcast interviews Skullkickers writer Jim Zubkavich about piracy and the Stop Online Piracy Act. [Berkman Center for Internet & Society Podcast]
Comics | Calling Tintin a “Catholic hero,” the Vatican newspaper L’Osservatore Romano took strong exception to the decision by U.K. publisher Egmont to sell the controversial Tintin in the Congo with a protective band around it — or, as the paper says, “wrapped up like a pornographic magazine and consigned to the adults-only section” of bookstores because of its portrayal of racial stereotypes. If you’re going to do that, the editorial argues, why not ban Boy Scouts, which were founded by notorious eugenicist Anthony Baden-Powell? “But then, he was English,” the paper snidely concludes. [Agence France-Presse]
Digital | ComiXology confirmed Tuesday that the Comics by Comixology app will be available for Amazon’s Kindle Fire when it goes on sale next week. ComiXology CEO David Steinberger said the company is prepared for the smaller screen size the Fire has, compared to the iPad: “Ah, well we’re lucky there, because our Guided View reading technology was designed first for a very small device — the iPhone — long before tablets became the norm. A great comics reading experience is one of the core reasons we’re so successful, and it translates great to all devices, from small to large. The Comics by comiXology reading experience is the same on all platforms, so it’s going to be very familiar to our fans. You can toggle in and out of Guided View with a simple double-tap. The Fire has a great screen, and for those pages that have lettering a little too hard to read, Guided View is a fun way to get in there and see the details.” [Chicago Sun Times]