Humans, get a freaking grip on yourselves

@warrenellis so I got this phone call from Joe Quesada and it was just the sound of him rubbing himself with money and now I am confused

@the_murphy #disneybuysmarvel #humansfearchange

Nick Main There are companies that Disney doesn't own?

If aren't a comic fanling and weren't sitting next to one at breakfast this morning, you might have missed the announcement that Disney will be purchasing Marvel comics. And count yourself blessed because the fanlings are throwing their shit in the air and fantasizing how Mickey Mouse will come into their homes, pry open their long boxes, and castrate Wolverine with pink, princess ribbons.

Humans! This is a corporate transaction. If, in a few months, there are editorial directives from on high, they'll be policy changes- no one is going to be replace Ghost Rider with Goofy. Besides, Marvel doesn't need any help in undermining their characters by putting them into terrible, cartoony, out-of-place contexts.


If you're a glutton for punishment or camp, click on The Hulk. It's a cheery CD of children's songs about a character who loses control of his emotions and kills.

EDIT: Oh, but if you'd like some serious commentary on what this could mean for both companies, obviously, you should head over to The Beat.

Ravi Comics.com

Hi, all.
Sorry I haven't been posting for some time now. Here's the reason why:
ravicomics.com

Enjoy!

EDIT by Shawn: If you've never read any of Ravi's comics before, here's my warning / sales pitch: Ravi has the sense of humor of a blasphemous 5-year old. His comics will dig into your gut, crawl their way up to your brain and root around until they find the part of you that is also a blasphemous 5-year old. They'll then tickle that 5-year old until he cries, but your brain will be pulped in the process.

Collected Links

(via @CBCebulski) The Submission Guidelines for every Comic and Manga Publisher in the Universe

(via Warren Ellis) A Gross of Goblins

(via Comics Alliance) The 5 Circles of Baffling Web Comic Hell



(via @mollycrabapple) Conversation about She-Hulk and the upcoming series Strange Tales

(via @ryanqnorth) Interview with Ryan North by cbr

I'd also like to point you to Chris's review column at Comics Alliance, which you should be reading already. Also, my own short fiction can now be found at shawnmain.net. You know, in case you were wondering.

Direct Market Continues to be Schroedinger's Cat of the Comics Industry

Comics Alliance's lead blogger, Laura Hudson, just put up a great essay on the continuing demise of the direct market. Go give it a read now if you've yet to see it.

I wish I had the historical background (or the time to look up the relevant info) to compare this to the previous publishing extinctions like the end of the pulp novel era or the, for all practical purposes, death of short story magazines, because I've got a hunch there are going to be a lot of parallels between those and what we're going to witness in comics over the next decade or so. Just like we still see short fiction magazines today, we'll still have periodical-length comic books with us for a while, but they're going to become an ever-dwindling portion of the market, a curiosity read by only the most devoted and nostalgic fans.

Recent circumstances for me have led to me switching from someone who usually waited for trades to someone who now, for the first time on any kind of regular basis, is making a weekly stop to the comic store to pick up the week's new releases. And, to be perfectly honest, as a reader I found my previous approach much more satisfying. So I'm not exactly going to be shedding tears if the trade paperback becomes the standard method of release for new comics material.

But the point raised in the piece that's really got me thinking is what this is going to mean for comics publishers trying out new talent. To jump back to a comparison, it used to be that writers trying to establish themselves would start out getting short stories published and then work their way up, but with the increasingly diminished role of short stories today that's often no longer the case. Without weekly comics as a proving ground for new artists and writers, are companies going to be willing to take a chance on publishing a new graphic novel, perhaps equivalent to 4-6 issues in length, from otherwise unknown creators? Is the web and competitions like Zuda going to become the new proving ground? Or are risk-averse publishers going to hold on tight to established creative talent whose names sell books and lean more heavily on them for material?

Also, I'm going to encourage anyone reading this to jump in with comments on Comics Alliance as you see fit. To keep up to date with the site's articles, you can follow either the Twitter feed and/or the Facebook group.

God Comics

A few months back, I mentioned my excitement -- nay, my child-like glee -- at the web toy, Infinite Monkey Comics. Now shortened to simply Infinite Comic, all you do is type in a word and the algorithm grabs a relevant flickr image and twitter post to generate you a personal comic. I played with this for longer than anyone rightly should and I discovered the secret words that yield the best comics. The key is to choose a word that's charged - a lot of people might have tweets with the word "groceries" but "i need to go buy groceries now" isn't fodder for great comics. Profanity works decently well, so do emoting verbs and intensifiers. But the real secret to getting the best out of the site is to choose words that also require context. "Hate" might give you some interesting tweets, but images tagged with "hate" are going to be fairly homogenous. So which words did I have the most luck with: bleed, fucking, but most especially: god.

Well, now I have a confession to make. I have a bookmark on my toolbar specifically set for Infinite Comic to make me a "god" comic and I've been clicking it one to twenty times a day. Thrilling. Sometimes it fails, but sometimes you get to peer right through people's secrets into something transcendental. And sometimes it's merely hilarious.

Below is a collection of my favorites. I'll note again that I didn't create these. I just typed the word "god" (and occasionally "omg" or "goddess) into the generator. I'm the curator of this exhibit.













http://www.infinitecomic.com

iPhone comics

Chris talks iPhone comics with Red 5 at Publisher's Weekly:

http://www.publishersweekly.com/article/CA6672059.html?&rid=1290552921&source=title

Full text of interview with Brian and Scott:

http://www.atomic-robo.com/2009/07/23/the-ticking-of-a-digital-clock/

3 Links for Today

(via NPR's Talk of the Nation) Gaiman talks Whatever Happened to the Caped Crusader.

(via @DanSlott) Wally Wood's 22 Panels that Always Work.

(via Scott McCloud) Dylan Horrocks’ Three Tijuana Bibles.

Dollars and Cents.

Yesterday saw the release of the first issue of Wednesday Comics by DC. And like most of the second-place company's decisions lately, it is both exciting and dissapointing.

Positive: The content is great. DC assembled top-shelf artists to create a stunningly beautiful collection of "Sunday comics" on a weekly basis. The "one page at a time" format creates an interesting storytelling challenge, that each writer seems to rise to in this first issue. It's successful since I want to see where all of these stories are going.

Massive Negative: $3.99 is a terrible price point for this title. Absolutely terrible. As beautiful as the results are, the book is published on oversized newsprint and only 16 pages long. Ideally, this book should boast a $1.99-$2.50 cover price. In the current marketplace this is essentially an experimental title. And If DC wanted to draw new readers in they shot themselves in the foot by pricing it like a big event title (next weeks 48 page Blackest Night #1 is $3.99). Despite the rave reviews of the content, the cost will hurt the in-store sales of this book. And many readers will miss out on one of the more interesting mainstream comic projects of the year.

Two Links

After seeing it mentioned on The Beat, I wanted to spend the afternoon watching The Maxx, the animated adaptation of Sam Kieth's bizarre and magnificent hallucinatory, superhero comic from the 90s. But mtv.com inserts a commercial between every scene and it was driving me mad. Someday when I have more patience I'll sit down and enjoy.

Instead, I got sucked into The Comics Curmudgeon. The commentary is pretty amusing, but I think a large part of the appeal is seeing other people get as angry at Archie and Beetle Bailey as I do.

Bright Starts.

Less than a year ago, Murphy commented on a missed opportunity by DC. The success of The Dark Knight film drove new customers into comics stores, looking for new Batman comics. What they unfortunately found was the middle of "Batman: RIP": a densely written, surreal breakdown of the Batman character. I agreed with Chris that despite personally enjoying the arc, it was the furthest thing from a comfortable starting point for new readers. It drew too much from Grant Morrison's previous year of Batman comics and well, basically was a little too Grant Morrison. And on top of that, I never felt Tony Daniel was the right artist for the storyline. In any case, it seemed like a missed opportunity to draw in new readers.

It turns out they missed the mark by a bit under a year, in the form of two of my favorite new releases.

Go buy Detective Comics #854.
Go buy Batman and Robin #1.

The former features Batwoman, a relatively new character getting her long-awaited starring role written by Greg Rucka. The first issue introduces the character, has a Batman cameo to ground it, and sets up her first case. It's engrossing and beautifully illustrated by J.H. Williams III. It's everything an introduction to a comic story should be.

The latter features the new Batman and Robin. It asks for more backstory but that depends on how much the new reader wants to know. The basics are easy. Bruce is gone. Dick Grayson has ascended to the cowl. Bruce's l'enfant terrible Damian is the new Robin. How things got to this point is sort of complicated (and isn't that what Wikipedia and trades are for?) But once you accept the starting point, it's a good one. And it doesn't hurt that it has great (slightly unconventional) artwork, courtesy of Frank Quitely.