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#639

BBC Radio 6, 19:00 tonight (Friday 4th):

The legendary comic book writer shares two hours of his favourite music and chats to producer and writer Richard Norris about the important part it’s played in his life and work.

Expect tracks from Captain Beefheart, Joni Mitchell, X-Ray Spex, The Residents, Patti Smith and Sleaford Mods. Plus some of the music he’s made himself over the years.

See if you can guess who it is before you click the link:

https://www.bbc.co.uk/programmes/m0008yp0

Then Sunday at 13:00, is this one easier to guess?

The author of **** amongst much else, picks some of the music that’s shaped him. With tracks from Bowie, Dusty Springfield and Tori Amos.

https://www.bbc.co.uk/programmes/m00093q6

  • This topic was modified 5 years, 2 months ago by DavidM.
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  • #649

    Thanks for this – I’ll be checking out both of those.

  • #753

  • #766

    That’s awesome. One of the guys on my team graduated from RIT. I’ll have to ask if he’s heard anything about this from the alumni association or anything.

  • #1267

    I may have to go by RIT and check it out.

  • #1303

    I wish Tom well soon.

  • #1552

    NOT A HOAX! NOT AN IMAGINARY STORY! This really is a mainstream news article about comics that doesn’t have BAM! POW! in the headline:
    .
    https://www.bbc.co.uk/news/newsbeat-49865896
    .
    Edit because I forgot we don’t get an article preview any more: it’s about Marvel being 80 years old.

    • This reply was modified 5 years, 2 months ago by DavidM.
  • #1555

    I feel like if this was a hoax it would be a pretty shitty one …

  • #1575

    To be fair there’s a guy at The Guardian who clearly likes comics and writes very good articles without any biff!Pow! elements.

    The other interesting thing is that’s a Newsbeat article which is BBC Radio 1’s news service aimed at people 13-28. So probably a good chunk of them would have no idea about the 1960s Batman show where that became familiar to the mainstream.

    • This reply was modified 5 years, 2 months ago by garjones.
  • #1595

    There used to be a columnist in our local paper who wrote about comics in the Friday edition every week. He treated the medium with respect, and you could tell he was a fan who knew what he was writing about. Sadly, the column ended abruptly, although he continued writing for the paper about other forms of entertainment.

  • #1604

    Supposedly, this is how Roy Thomas got into comics. He used to write a weekly piece for the Southeast Missourian (a paper Denny O’Neil also worked for a short time).

  • #2494

    10 thoughts on interviewing cartoonists
    Interesting article.

  • #3481

    To be fair there’s a guy at The Guardian who clearly likes comics and writes very good articles without any biff!Pow! elements.

    In any case often the headlines are written by a sub-editor rather than the author of the piece.

  • #3482

    FREDERIC WERTHAM’s Life & Dark Effects on Comics Spotlighted in Upcoming Stage Play

  • #3496

    Which is true but the problem very often isn’t just in the headline. 9 times out of 10 the ‘biff! Pow!’ stuff starts the opening paragraph.

  • #3648

    This is from Ed Brubaker’s latest email newsletter:

    A bunch of readers have written in asking about my and Sean’s exclusive deal at Image. Some wondering why we’d lock ourselves to one publisher, or what the advantages of Image Comics are compared to other publishers, some looking for advice about publishers in general, because they’re aspiring writers and artists themselves. When I was trying to break in I was always lucky enough to find professionals at conventions who were willing to give straight advice about publishers, and even still I made decisions I regretted later, as we all do in our careers. But I managed to avoid some of the pitfalls… so hopefully I can help others do the same.
    .
    Warning – skip to next section if you have no interest in publishing deals.
    .
    There are a few reasons that me and Sean brought our books over to Image and ended up doing an exclusive with them. Robert Kirkman and Eric Stephenson are a big part of it, because they’re friends and partners who have only ever done right by us and our books… but at the end of the day, the best thing about Image Comic is their deal. Image is the only publisher working in comics where “creator-owned” actually means what it says AND where those creators get ALL the profit on their single issues, and the vast majority of it on trades and hardbacks. And that’s not just for “famous” creators, that’s been their standard deal (with minor variations) since the company was founded.
    .
    Other publishers that put out “creator-owned” comics – your Dark Horses and IDWs and Booms and Onis, etc – all have different deals. They take a bigger piece of the profit (usually half) and they generally want to control the media rights. Some even want to co-copyright the work.
    .
    Image doesn’t do that. All the rights stay with the creators, who get to decide everything from paper stock to design to printrun. Does it do everything right, and does everyone publishing there make a living? Of course not, publishing comics is a really hard thing to do and all of us who are able to make a living doing it are incredibly lucky. It takes a ton of work and years and years of trying to get press coverage and hoping readers will dig a book enough to spread the word about it. But it takes just as much work to do that at any publisher and at Image when it pays off, it pays off for the creators.
    .
    (Side note – alt comics publishers like D & Q and Fantagraphics also give all rights and ownership to creators and always have, but their profit-sharing is not as good as Image’s deal).
    .
    A lot of publishers can do a great job getting your work out there and helping you build a name. There are smart people at these companies who can teach you a lot about comics and the industry, and that can mean a lot in the course of a career… but when you see the words “creator-owned” about some publishers, you should realize they don’t actually mean that. They mean ‘co-owned’ – and if that’s good enough for you, then go in eyes wide open.

  • #3897

    Meet Adrenaline: Asterix gets first female hero in 60-year history

  • #4393

  • #5045


    Since when Marvel “owns” Boom! Studios? 20th Century Fox still has a minority ownership stake in the publisher. That Wikipedia page was edited five days ago and there’s no any inks nor mentions about Marvel owns that publisher.

    Or probably some wanker’s first time to joined and screws up at editing the page.

  • #5068

    From under the “History” tab:

    In June 2017, 20th Century Fox purchased a minority stake in Boom!, valued at $10 million.[11][12] The Walt Disney Company inherited Fox’s stake in Boom! after Disney acquired 21st Century Fox’s assets on March 20, 2019.[32]

  • #5146

    A mid-90s mini documentary about some guy’s Superman museum/collection.

  • #5163

    5 comics to read in November 2019: Look to the future

  • #5201

    A mid-90s mini documentary about some guy’s Superman museum/collection.

    That’s the collection that is now in the Superman Museum in Metropolis, Illinois. It has about the same level of organization too.
    .
    https://supermuseum.com

  • #5204

    A mid-90s mini documentary about some guy’s Superman museum/collection.

    That’s the collection that is now in the Superman Museum in Metropolis, Illinois. It has about the same level of organization too.
    .
    https://supermuseum.com

    I thought it might be. The small items strewn across the stairs really put me on edge.

  • #5211

    I thought it might be. The small items strewn across the stairs really put me on edge.

    I don’t remember anything being on the stairs but the “museum” has a similar feel. In contrast, the Cleveland Library had a display last year that was much smaller in number of pieces but was presented much better. There is some really unique stuff in Metropolis but there is also a lot of junk.

  • #5255

    More of these lists coming in the next few weeks, I assume:

    https://www.polygon.com/comics/2019/11/5/20948599/best-comics-of-decade-2010s

    Decent list, though there’s nothing on there I haven’t already read.

  • #5258

    That’s an interesting list.

    I haven’t read immortal Hulk but I don’t really like the concept. I’m sort of a Hulk purist I guess.

  • #5308

    Only one thing on there that I have actually read, but the rest of it seems to align with what I hear people talking about so I assume it’s a fairly uncontroversial list.

  • #5309

    Your face is a fairly uncontroversial list.

  • #5315

    … thank you? :unsure:

  • #5567

    In Feb 2011 the best selling single issue was Green Lantern with 71,000. This is September 2019.

    1 SPAWN #300 262,599

    2 SPIDER-MAN #1 156,369

    3 HOUSE OF X #5 139,306

    4 POWERS OF X #5 137,550

    5 POWERS OF X #4 127,076

    In Feb 2011 there were no digital sales. Interesting to see the Powers of X sales go up which is quite rare in comics.

  • #6504

    No idea if this holds any interest for people here…

  • #6648

    https://alanmooreworld.blogspot.com/2019/11/moore-on-jerusalem-eternalism-anarchy.html

    It’s Alan Moore’s 66th birthday (happy birthday Alan!) and it’s time for talking trash about superheroes!
    (i don’t agree with him for the most part, but it’s worth it to read that interview)

  • #6682

    That’s a great interview. Now I know where this came from:

  • #6684

    I always love Moore’s interviews. He’s one of those interviewees where I feel like I can hear him speaking every word.

  • #6687

    Apparently that’s an old interview. John Reppion (who I think is Moore’s son-in-law) has just had a moan about it on Twitter, saying that it’s unfair to drag up old views which have since changed.
    .
    Personally I think it’s perfectly valid to re-share old writing and interviews. Even if his views on superheroes have changed since then (and I’m not really convinced they have :-) ), it’s still valid to know what a writer was thinking two or three years ago, as part of the context of understanding his work.
    .
    There are published letters written by Dickens, Tolkien, etc., and nobody ever claims it’s wrong to study them now because they were written decades ago.

  • #6698

    In fairness, the preamble to the interview makes it clear how old it is and that it’s a newly-published English version of an interview previously published in translated form.

  • #6699

    Also, yes I doubt he thinks any differently today!

    There are published letters written by Dickens, Tolkien, etc., and nobody ever claims it’s wrong to study them now because they were written decades ago.

    Both unlikely to change their minds now though. :rose:

  • #6700

    John Reppion (who I think is Moore’s son-in-law)

    He is yes. Married to Leah Moore.

  • #6878

    https://www.hollywoodreporter.com/amp/heat-vision/iconic-french-comic-asterix-have-ambitious-us-roll-2020-1253196

    Asterix being released to a larger audience is a good thing.

    Asterix being collected in nice new hardcover ombibuses is also a good thing.

    Messing about with the page sizes (not mentioned in the article but I just heard it on a European comics podcast) and retranslating then is less of a good thing

  • #6881

    On retranslation, I actually think you can make a good case for it being necessary to properly bring the books to a US audience. So many of the cultural references, puns and other gags were altered to be UK-centric for the English-language translations that many of them might be just as alien to US readers as the original French references would have been.

    I don’t think they would require a complete overhaul, but certainly changing some of the specific cultural references could be a worthwhile endeavour.

    (And I say this as someone with the hugest respect for the fantastic translation work that Anthea Bell and Derek Hockridge did on Asterix.)

  • #6882

    Changing the page size is less good. (I presume they’re shrinking them?)

    I have some Tintin hardcovers that shrink the pages down to roughly the size of a US comic, and they’re only barely readable.

  • #6901

    On retranslation, I actually think you can make a good case for it being necessary to properly bring the books to a US audience. So many of the cultural references, puns and other gags were altered to be UK-centric for the English-language translations that many of them might be just as alien to US readers as the original French references would have been.

    Yeah, this was one of the points made on the podcast I listened too. They also wondered if they might try and soften/change any “culturally insensitive” aspects in the writing too (the black pirate stereotype/caricature was mentioned as potentially problematric).

  • #6906

    Yeah, that’s jumped out at me when rereading the old books with the kids recently too. The more recent books still include the character but have toned down the stereotype.

  • #6935

    Changing the page size is less good. (I presume they’re shrinking them?)

    The books will be 9.5 x 7.5 inches which is apparently the same size as the art (minus yhe white borders) in the original publications.

    This article is by the guy that recorded the podcast and seems to have most of the facts/opinions he had in the podcast.

    Papercutz Brings Asterix to America. Finally. Should I Worry?

  • #7024

    Tom Lyle passed away on Tuesday. He wasn’t a prolific artist these days, but back in the early 1990’s he was pretty high profile. Working on Spider-man (designing the Scarlet Spider’s hoodie costume), Punisher, Detective Comics (co-creating Spoiler), and most importantly (at least for me), the Tim Drake Robin mini-series.

    I adored his art at the time. It’s a big part of my formative years as a comic book fan. It’s a shame that he dropped off the radar in the last decade or more, and I wanted to note his passing.

    Tom Lyle RIP

  • #7025

    Tom Lyle passed away on Tuesday. He wasn’t particularly prolific in the last couple of decades, but back in the 90’s he co-created Ben Reilly’s Scarlet Spider look, Stephanie Brown’s Spoiler, and was the artist on the fantastic Tim Drake Robin mini-series. He was a favourite of mine.

    Tom Lyle RIP

  • #7111

    Back around the end of the oughts 2008-2010 I lived in Savannah Ga. Tom Lyle was a teacher there at SCAD. I never met him but I knew some of his students who had good things to say about him.

  • #8215

    On a lark, I went to Bleeding Cool. I had not visited the site in a year or two.

    It was worse than it was before. You can tell Rich Johnston has well and truly burned through every insider he knew in the industry. He used to have a lot of gossip and inside info but that’s not present anymore. It’s basically like CBR, only slightly worse. This is nothing there that you can’t find on a dozen other comics sites. Even though Rich was (and probably still is) a muckraker, his site used to have some unique content. Now, it feels pretty generic.

  • #8218

    On a lark, I went to Bleeding Cool. I had not visited the site in a year or two.

    It was worse than it was before. You can tell Rich Johnston has well and truly burned through every insider he knew in the industry. He used to have a lot of gossip and inside info but that’s not present anymore. It’s basically like CBR, only slightly worse. This is nothing there that you can’t find on a dozen other comics sites. Even though Rich was (and probably still is) a muckraker, his site used to have some unique content. Now, it feels pretty generic.

    I think you’re probably right about Johnston’s contacts, but the site started on a downward spiral when there was an editorial change above Johnston, which saw Jude Terror was brought in and a shift in focus (the third column appearing on the home page). I don’t think I’ve been there in a few years either.

  • #8226

    Yeah it’s true, it’s not really much of even an immoral gossip site any more. Last time I looked it had some really desperate stuff, Rich writing an article about there was a typo in some comic or other. It wasn’t even a funny typo that turned it into a swear word or anything, just something spelled wrongly.

    It seems the order of the day nowadays is just pump out endless content for all sites, whatever the quality, just get 10 articles an hour.

     

     

  • #8773

    Basic Training: Arthur ”Art” Adams

    Wizard: The Comics Magazine #72 (August 1, 1997)
    [Wizard: The Guide to Comics #72]

  • #9012

    Went to the Bake exhibition at Tate Britain this afternoon. This is the exhibition guide book:

    20191213_213841

     

  • #9016

    Went to the Bake exhibition at Tate Britain this afternoon. This is the exhibition guide book:

    I didn’t even know he liked baking!

  • #9027

    Apparently he’s been applying for Celebrity Bake-Off for years but they’re too scared to allow him on.

  • #9028

    V For Viennetta

  • #9145

    I haven’t read any of these, but you probably have.  Are they good?

     

    https://au.ign.com/articles/2019/12/05/best-comic-book-series-2019

  • #9289

    Far Side creator Gary Larson launches website with promise of new work

    https://www.thefarside.com/about

  • #9347

    I haven’t read any of these, but you probably have.  Are they good?

     

    https://au.ign.com/articles/2019/12/05/best-comic-book-series-2019

    It has “2019” at the end of the URL so I don’t need to click it in order to give you an answer :-)

     

     

  • #9380

    It has “2019” at the end of the URL so I don’t need to click it in order to give you an answer

    It includes Aquaman and Batman which I have heard have their problems. Just because something has been picked or voted the best doesn’t necessarily mean they are the best for you. I thought their choices left something to be desired myself but I did not read all of them.

    I do agree with their #1 pick. Immortal Hulk is a book you should read.

  • #9384

    I found a box in my parents’ loft the other day, that hadn’t been opened since 1994. We moved around a lot when I was a kid (three times in 1994 alone) so we didn’t always unpack every box when we got to the new house, we’d often leave them til they were needed or, like this one, completely forgotten about. It created a fun little time capsule really.

    Most of it is just old school work and junk (my year 2 English SAT, for instance, which I vividly remembered doing), but there was a bevy of old comics in there too!

    Sonic the Comic!

    I do not remember ever reading this (I’m pretty sure it’s my brother’s anyway). Interesting how it’s equal parts traditional British anthology comic and video games mag, with reviews, cheats page, sales chart etc. This has two Mark Millar strips in it, a Streets of Rage one which is really hard to judge because it’s the end of a story, and a Sonic one which is unrecognisable to any of his other work (perhaps for the best, for Sonic). Don’t feel I missed much not reading this regularly as a kid.

    Batman Monthly

    I remember getting two Batman comics as a kid and this is neither of them (one was an American import of one of the issues of Knightfall, which I was too young to really get and was mostly just confused by how small it was, the other was a Brit-reprint of Jason Todd’s death, which I was also too young to get really, as I was confused by how Robin died in it yet it came with a foil sticker of Nightwing, who I knew was grown-up Robin). This has a reprint of a Grant-Breyfogle story and then a text story. It’s a weird attempt to make the increasingly sophisticated and relatively adult Batman fit the British kids comic format. One that presumably didn’t take.

    Thundercats Annual

    I don’t think I ever actually read the Thundercats comic as a kid, but on the strength of the few issues reprinted in here, it seems pretty decent, on a par with Transformers UK. The really impressive thing about this annual is that the usual filler of puzzles and text stories is merged into one, with a story that sees the Thundercats fighting Puzzlar, who sets them various puzzles that you the reader have to do. That’s quite clever. There’s art by Gary Frank in here (inked by Stephen Baskerville), including the cover and it was edited by Dan Abnett. This has me a little interested in searching out some other Marvel UK Thundercats comics.

    Teenage Mutant Hero Turtles joke book

    Ok, this isn’t a comic (I had hoped for those old TMHT Adventures comics to be in the box, but no luck). But it really interested me. Would it just be a regular joke book with the Turtles slapped on the front? Turns out no, someone’s actually been made to come up with Turtles jokes, or crowbar them into regular jokes. For example “If Splinter lost his tail where would he go for a new one? To the re-tailer.”

    Incredible Crash Dummies

    I think this is a full run of this kids toy comic. It’s hard to tell, because there’s no information about it online really. I’ve got 7 issues here and I can’t imagine it ran much longer. It turns out it’s a reprint comic for an American series by Harvey Comics and you can see where they start running out of material in later issues and have to pad. It’s a very thin comic. I can see why I liked it as a kid, I guess, but yeah.

    MASK

    Only one issue of this. It’s another one I really don’t remember and it’s almost certainly my brother’s because it’s from 88 or so. How it ended up with these later ones, I don’t know, but I’m glad it survived (shame all those issues of TFUK and Real Ghostbusters didn’t too). It’s a mildly fascinating thing. Produced by IPC, it’s structured a lot like 2000AD – five separate serialised stories running alongside each other, albeit they’re all featuring MASK (and so presumably don’t have any specific continuity with each other). It’s an interesting counterpoint to the Marvel UK titles, which would save money by having tangentially or unrelated back-up strips.

    And because it’s from the same stable as 2000AD, it’s absolutely gorgeous. Look at the rendering on these characters

    Unfortunately, there’s no creator credits anywhere inside, so I’ve no idea who worked on any of it. But I’m tempted to see if I can pick up more back issues.

  • #9399

    Great! Some of those bring back memories. I loved Sonic the Comic, but probably more from the videogame side than because they were great comics. Some were pretty good though.

  • #9401

    That’s great, Martin! Thanks for sharing.

    I recently came across a big envelope in my basement that contains a bunch of stuff I got from WildStorm/Homage Studios in the 1990s for writing letters to the editors on various books, back when lettercols were still a thing. Things like ashcans, preview pages for upcoming books, color guides for other books, stickers, postcards and posters, etc. Plus handwritten notes on WS postcards signed by John Layman, Scott Dunbier, and others who were on the WS editorial staff at the time.

    Going through that stuff brought back a lot of good memories of the early days of Image and WildStorm. Sometimes nostalgia is fun.  :mail:

  • #9411

    It’s a weird attempt to make the increasingly sophisticated and relatively adult Batman fit the British kids comic format. One that presumably didn’t take.

    Like all the others really. For some reason while Marvel had a lot of success DC reprints never really seemed to work in the UK.

    If you go from Pow and Fantastic in the late 60s through to Panini’s offerings today I’m pretty sure there’s an unbroken run of Marvel reprints every month for the last 50 years. DC had the material and the character recognition but I think they had poor licencees. London Editions had them for quite a while (don’t know if that one was by them or if they were still in business by then) and their efforts were rather half arsed.

    I remember their 80s ‘The Superheroes’ book had some rather striking painted/airbrushed covers but looking back at them now the art isn’t actually very good.

    The Bob Wakelin ones from Marvel were actually much better (before he focused most of his time on computer games).

     

     

     

  • #9417

    London Editions had them for quite a while (don’t know if that one was by them or if they were still in business by then)

    Yeah, it’s London Editions.

  • #9439

    I do not remember ever reading this (I’m pretty sure it’s my brother’s anyway). Interesting how it’s equal parts traditional British anthology comic and video games mag, with reviews, cheats page, sales chart etc. This has two Mark Millar strips in it, a Streets of Rage one which is really hard to judge because it’s the end of a story, and a Sonic one which is unrecognisable to any of his other work (perhaps for the best, for Sonic). Don’t feel I missed much not reading this regularly as a kid.

    The Streets of Rage story is hilariously awful. It’s 30 pages total, and Millar manages to stick in every cop movie cliché possible into it.

    I loved STC, but that issue is from very early in the run, before they figured themselves out. It’s also one of the issues without Richard Elson art, which is always a shame, and without a Nigel Kitching-written Sonic strip at all.

    …it’s possible I have scans of the entire series on my tablet.

    I had that same TMHT joke book. It might still be in my attic.

  • #9632

    TMHT?  just noticed that is the name on the book. was there a copyright issue? or was British publishing just anti-ninja at that time?

  • #9643

    TMHT?  just noticed that is the name on the book. was there a copyright issue? or was British publishing just anti-ninja at that time?

    Ninjas were deemed too unsavoury for kids, mainly by the BBFC, so the brand name was altered and Michelangelo’s nunchucks were clumsily edited out of the cartoon (but still available with the toy, which made it kind of moot).

  • #9649

    I doubt it was the BBFC as the TV cartoon came out on TV much earlier and they didn’t have jurisdiction there, only on film and video releases.

    It’s true either way though that it was deemed ninjas were too violent an idea for kids by someone or other. It’s one of those decisions that I don’t know can be that representative of a certain era, I’m old enough to remember as relatively mature in 1987/88 it was a really weird decision back then to use ‘hero’ that was widely mocked.

    The nunchucks bit is actually more understandable as there was a brief moment of moral panic that they were available to buy very openly and had been used by kids in gang attacks. The sai are actually way more deadly but they hadn’t been an issue as they were covered by knife laws.  That loophole was soon cut off and later versions dropped the aversion to the word and the weapons. By the time the 1990 film came out it used the ‘ninja’ title.

  • #9661

    I doubt it was the BBFC as the TV cartoon came out on TV much earlier and they didn’t have jurisdiction there, only on film and video releases.

    True, but it was the BBFC, under James Ferman, who had cut the nunchuk section from Enter The Dragon, setting the precedent for them being censored in media generally. This relatively contemporary article puts it down to the BBC.

    There’s a comparison of the change to the opening titles here. That final shot in the UK version, of them about to dive into a pond, does seems incredibly odd in retrospect.

  • #9663

    it was the BBFC, under James Ferman, who had cut the nunchuk section from Enter The Dragon

    I was thinking more of the ‘hero’ bit in the title than the nunchucks. As I said there was at least some more logical thinking around that,  a kid in Surbiton may have picked up nunchucks in a market and whacked a classmate over the head before they were regulated. It’s a bit of a stretch to imagine him becoming a ninja.

    It is so nice now though that the BBFC is a very rational and transparent organisation, in the 80s there was a whole host of reactive nonsense emanating from random personal opinions.

  • #9665

    As I said there was at least some more logical thinking around that, a kid in Surbiton may have picked up nunchucks in a market and whacked a classmate over the head before they were regulated. It’s a bit of a stretch to imagine him becoming a ninja.

    And that’s exactly what the ninja dojos of Surbiton want you to think.

    It is so nice now though that the BBFC is a very rational and transparent organisation, in the 80s there was a whole host of reactive nonsense emanating from random personal opinions.

    Yes, there was a really good documentary about the BBFC and its transition from Censorship to Classification that I saw a few years back, but I can’t for the life of me remember if it was a film or what TV channel it was on (I suspect BBC Four). One key bit they mentioned was Rambo 3 getting heavily censored even for an 18 certificate, in the aftermath of the Hungerford massacre, all dictated by Ferman.

  • #9667

    Yeah Ferman was a prize dick.

    The BBFC often put representatives up on the Kermode and Mayo show, it’s very refreshing when they are on and explain all their processes perfectly logically, even if you don’t agree with every decision you can see how they got there. Their website explains in detail every reason they give for applying a specific rating when the MPAA decisions remain shrouded in mystery.

     

  • #9721

    There’s also a really good documentary about the MPAA.

  • #10608

    HEAT VISION The Best Comics of 2019

  • #10614

    The Guardian version.

    https://www.theguardian.com/books/2019/dec/31/best-comics-of-the-decade-2010s-sandman-hark-a-vagrant

    More indie-centric than most tastes here but it does have a DC and Marvel book each and I do like the fact that the Guardian have a couple of people on staff that just write about comics with no need for the ‘biff, pow’ caveats.

     

  • #10615

    Some good recommendations on that list, (everyone should read Berlin) and some other books I haven’t read but want to check out.

  • #10916

    https://twitter.com/ErikJLarsen/status/1213211330091446272?s=20

    I forget – do Tweets embed?

    ETA Guess not.

    Opera-Snapshot_2020-01-04_153415

     

  • #10924

    Like Youtube links, tweets embed if you switch the tab in the reply box to ‘text’.

    Par example:

  • #11384

    Well this is a catchy title for a character guide book.

    https://www.amazon.com/dp/1368062903/

    I wonder why no other comics publisher has ever thought to use it before. :unsure:

  • #12192

    From 1980 this is the first published work of a highly regarded current comics artist in Judy Annual for girls:

    There’s the subtlest hints for you to guess at but it’s hard unless you already saw the same post on Twitter.

  • #12205

    Haven’t got a clue about the artist, but it’s really nice. Though I think he’s better at horses than girls, he manages to give each horse an individual look :D

  • #12207

    From 1980 this is the first published work of a highly regarded current comics artist in Judy Annual for girls:

    There’s the subtlest hints for you to guess at but it’s hard unless you already saw the same post on Twitter.

    Or you have his art book. :rose:

  • #12208

    Haven’t got a clue about the artist, but it’s really nice. Though I think he’s better at horses than girls, he manages to give each horse an individual look :D

    He got better at drawing girls.

     

  • #12211

    The best selling graphic novels/trades of the last decade have been announced. No real surprises, the usual Moore and Miller classics, Civil War which still sells crazy numbers and TWD and Saga. For context Brian K Vaughan said he makes more money from Saga than he did working in TV for shows like Lost.

    1. The Walking Dead TP Vol. 1 (Image Comics)

    2. Saga TP Vol. 1 (Image Comics)

    3. Batman The Killing Joke HC (DC Comics)

    4. The Waking Dead TP Vol. 2 (Image Comics)

    5. Saga TP Vol. 2 (Image Comics)

    6. Watchmen TP (DC Comics)

    7. Civil War TP (Marvel Comics)

    8. Saga TP Vol. 3 (Image Comics)

    9. The Walking Dead TP Vol. 3 (Image Comics)

    10. Dark Knight Returns TP (DC Comics)

  • #12213

    I think I know the artist’s name.

    Did he live in a house with his friend Daisy and a doggie called Colin?

  • #12215

    Could be, his first name is actually signed in the more recent drawing.

  • #12217

    I did not know his first name is 2008.

  • #12223

    Haven’t got a clue about the artist, but it’s really nice. Though I think he’s better at horses than girls, he manages to give each horse an individual look :D

    He got better at drawing girls.

     

    I was actually thinking Alan Davis from the Judy page (I don’t know if the timeline for that would have added up).

  • #12235

    https://www.newsarama.com/48623-image-publisher-there-are-way-too-many-books-published-for-comic-stores-to-handle.html

  • #12257

    That’s quite a candid admission, and something that we’ve been saying about Image for a while now.

  • #12259

    Could be, his first name is actually signed in the more recent drawing.

    True, but the file name reveals all

  • #12261

    I was actually thinking Alan Davis from the Judy page (I don’t know if the timeline for that would have added up).

    The timeline does work. Davis’ first published work was in Marvel UK’s ‘Frantic Magazine’ in the same year, 1980.

    His star rose a lot quicker though, getting Marvelman and Captain Britain within a couple of years and then Batman and The Outsiders for DC. First I saw of Sean’s work was on Crisis (the 2000ad spinoff, not the DC crossover) in around 1988.

  • #12263

    https://www.newsarama.com/48623-image-publisher-there-are-way-too-many-books-published-for-comic-stores-to-handle.html

    Thing is, I totally see his point and certainly Marvel and DC could do with trimming back their lines and showing some prudence. But this bit is a little worrying:

    “For instance, I was recently sent a pitch by a creator whose work I really like, and while I personally found the idea to be interesting, we ultimately passed on it because it didn’t seem like the sort of thing that would have a very wide audience,” Stephenson revealed.

    “Because we publish creator-owned comics, we are in a position where we could publish anything, but I think it’s in creators’ best interest and the industry’s best interests that we instead exercise some prudence.”

    Image should absolutely be the company taking risks on projects that seem niche and unlikely hits. It’s all well and good reducing your footprint as a publisher, but if you’re limiting yourself to things you only think are going to be hits (ie that are similar to existing hits), then you’re likely to be putting out half a dozen very similar things that you think will do well rather than a dozen that might do alright. And if you follow that logic you end up as the modern US movie industry, where you’re only putting your resources into a handful of increasingly bland big films every year and squeezing out the minority interests. There’s a balance to be had between those two positions and I’m not saying Image has veered too far one way, but it’s not encouraging talk. (And actually, Image’s problem has often been putting out too many derivative and identikit looking books – often with indecipherable single word titles – that are hard to make sense of).

    Also, the idea of there being “too many comics” is kind of ridiculous when you take a step back. Apply that thinking to any other medium and its nonsense. “Record shops just can’t cope with how much music there is nowadays!” The problem is more that we’ve trained readers to think they need to follow huge lines of books to keep current, which is a losing game. Comic shops relying on a handful of whales buying the entire X-Men line or every Bat book every month isn’t sustainable. It’s surely much healthier to be selling fewer books to a wider variety and greater number of people and for that you need more variety and those potentially niche titles.

  • #12264

    Creator-owned doesn’t mean creator-funded though.

    Image aren’t really in a position where they could publish anything – I think Stephenson’s chosen his words poorly

  • #12271

    if you’re limiting yourself to things you only think are going to be hits (ie that are similar to existing hits), then you’re likely to be putting out half a dozen very similar things that you think will do well rather than a dozen that might do alright.

    I’m not sure about that. I don’t think that him talking about limiting Image to things with a chance of selling necessarily equates to lots of similar books. In fact, in the interview he said he was conscious that at one point they were too heavily skewed towards sci-fi overall and he wanted to counter that.

    Obviously at some point there has to be some element of judgment – Image don’t exist to publish anything that a writer brings to them, whatever it is – the question is how that judgement process works.

    I agree that limiting the Image range to stuff that is perceived as having the best chance of selling is maybe not the best approach, as some seemingly niche books can be surprise hits. But at the same time, someone has to choose.

    I wonder if the issue is more whether Stephenson himself is acting as a ‘gatekeeper’ too much and selecting stuff based on his personal preferences – that’s a criticism I’ve heard before.

  • #12272

    I think so. There was a glut of Image books that had quite similar sci-fi settings and quite complex world building. It seems to be something he likes but the standout sellers are relatively simple concepts and easy to get into from the first issue, TWD, Saga, Chew etc. (…and yes I know Saga is a sci-fi book with a degree of world building too but Vaughan’s selling point there really has always been his character work).

    Image could use another set of eyes in there if you ask me.

  • #12273

    I don’t know how much control Image has over the titles of books they publish, but I think they need to come up with more distinctive names for some of them. Over the past year or so they’ve released the following unrelated books:

    Section Zero
    Outpost Zero
    Outer Darkness
    Infinite Dark

    Sex Criminals
    Sex
    SFSX

    Moonshine
    Moonstruck

    Pretty Violent
    Pretty Deadly
    Deadly Class
    Dead Eyes
    Death or Glory
    Die! Die! Die!
    Die

    While I’m glad that Stephenson recognizes and is concerned about the glut of books, at least Image no longer floods the sales racks with multiple variant covers the way that Marvel and Boom and Dynamite continue to do.

  • #12274

    Also, the idea of there being “too many comics” is kind of ridiculous when you take a step back. Apply that thinking to any other medium and its nonsense. “Record shops just can’t cope with how much music there is nowadays!” The problem is more that we’ve trained readers to think they need to follow huge lines of books to keep current, which is a losing game. Comic shops relying on a handful of whales buying the entire X-Men line or every Bat book every month isn’t sustainable. It’s surely much healthier to be selling fewer books to a wider variety and greater number of people and for that you need more variety and those potentially niche titles.

    I wonder whether this is more a function of comics shops still largely acting like small hobbyist businesses than anything else. The infrastructure to deal with that large volume of titles isn’t there.

  • #12276

    While I’m glad that Stephenson recognizes and is concerned about the glut of books, at least Image no longer floods the sales racks with multiple variant covers the way that Marvel and Boom and Dynamite continue to do.

    (Just don’t mention Spawn!)

  • #12280

    While I’m glad that Stephenson recognizes and is concerned about the glut of books, at least Image no longer floods the sales racks with multiple variant covers the way that Marvel and Boom and Dynamite continue to do.

    (Just don’t mention Spawn!)

    Words to live by. ;)

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