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Blog Archives: July 2008
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Tomorrow
Preview Night notwithstanding, <a href="http://www.comic-con.org/" target="top"> Comic-Con International 2008</a> gets underway tomorrow at the San Diego Convention Center. Image Comics will be at booth #2729 all convention long, so if you’re coming out to the show, make sure to stop by. Practically everyone currently publishing with Image right now is going to be at the booth at least a little while and we’ve got some great prints for sales, along with some cool giveaways. And I mentioned that Tori Amos is signing copies of <B>COMIC BOOK TATTOO</B> on Saturday, right?
In the right here, right now department, though, Mark Millar and Tony Harris’ <B>WAR HEROES #1</B> is in stores today. It’s already being hailed as some of Millar’s best writing, but don’t take our word for it – check out the advance review over at <a href="http://www.newsarama.com/comics/080723-BSEWarHeroes.html" target="top">Newsarama.com</a>. The aforementioned <B>COMIC BOOK TATTOO</B> is out today, as well, along with the four-long-years-in-the-making <B>AMERICAN FLAGG!</B> hardcover that you probably thought you’d never actually see in your lifetime. Rob Schrab’s <B>SCUD</B> is collected in all its magnum opus-y glory, too, and you’ll probably want to check out <B>INVINCIBLE #51</B> as well. And Dan Brereton’s new <B>NOCTURNALS</B> one-shot. And the first collection of Mike Allred’s work at Image, <B>MADMAN ATOMIC COMICS, VOL. 1</B>. And the new issue of <B>YOUNGBLOOD</B>.
You might need a shopping cart.
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A LOT OF INK
So, you may have heard that we're debuting a ginormous anthology inspired by the songs of Tori Amos at this year's Comic-Con International in San Diego. If you haven't, we just received copies of the <B>COMIC BOOK TATTOO</B> (available in both hardcover and softcover formats) and let me tell you, it's beyond beautiful. 480 pages of fantabulous that, in its hardcover form could easily be used to stave off attackers. And you'll have to, too, because this book is <i>that</i> awesome.
Even better still: Tori herself will be appearing at Comic-Con this year. First up, she'll appearing on a panel hosted by comics and music critic Douglas Wolk, LIVE FROM COMIC-CON, TORI AMOS & COMIC BOOK TATTOO, on Saturday, July 26 from 11:30 am - 12:30 pm. Following that, Tori will be signing copies of <B>COMIC BOOK TATTOO</B> from 2 pm - 4 pm at the Image booth (2729). The signing is going to be limited to 200 fans, so if you're interested in getting a copy of the book signed by Tori, you'll need to purchase a copy of the book between Wednesday and Saturday. Tickets will be available in increments when you buy <B>COMIC BOOK TATTOO</B> – twenty on Wednesday, seventy-five on Thursday, another seventy-five on Friday and then the final thirty on Saturday. If that sounds nutty or confusing, the idea is to make sure that all the tickets/books aren't snapped up the first day.
For more on <B>COMIC BOOK TATTOO</B>, check out <a href="http://www.toriamos.com" target="top">www.toriamos.com</a>. And if you need more info on Comic-Con, head on over to <a href="http://www.comic-con.org" target="top">www.comic-con.org</a>!
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YOUNG & LOVELY
With a new issue on the stands soon and a trade paperback in the works, I thought it would be a good time to check in with <B>YOUNGBLOOD</B> writer Joe Casey about the status of Rob Liefeld's superteam going into the second half of 2008.
<B>Eric Stephenson</B>: <B>YOUNGBLOOD #4</B> is out next week. This wraps up the first story arc, right?
<B>Joe Casey:</B> More like it brings the first act to a close and preps readers for what's coming next. There's a bigger story being told here. The recruitment of the current team – Shaft, Badrock, Die Hard, Doc Rocket, Cougar and Johnny Panic – for a massive PR blitz (complete with reality TV show) is only the beginning of a story with a lot more size and scale to it. Additionally, the introduction of Mayhem, Inc. is not simply about giving our heroes a set of TV adversaries. The death of Shaft and the team's reaction to it leads into a new phase of Youngblood's existence. Issue #4 really sets the stage for what's coming up.
<B>ES:</B> Where do things go from there?
<B>JC:</B> Quite a few questions are answered in issue #4. The next batch of issues brings a new threat into the mix: the Televillain. This is a guy – created by Alan Moore in his legendary <B>SUPREME</B> run –who I always thought was a cool character and also the perfect character to comment on exactly the same themes that Youngblood was created to comment on. And the arrival of the Scion (full name to be revealed later) is a major turning point that we'll explore further.
<B>ES:</B> You've done quite a bit of mixing and matching with Rob Liefeld's original Youngblood and characters introduced by Alan Moore in <B>SUPREME</B> and his all-too-brief run on <B>YOUNGBLOOD</B>. Are there other characters you'll be returning to action as this story continues to unfold?
<B>JC:</B> Definitely. There's so many great characters that he created for Rob's universe that are just sitting there! It'd be stupid <I>not</I> to dig in and use them.
<B>ES:</B> So, what drew you to <B>YOUNGBLOOD</B> in the first place? Were you a fan of the original series?
<B>JC:</B> What I've always responded to is Rob's passion for the characters and the concept. <B>YOUNGBLOOD</B> really is his legacy, so we're taking great care to make sure it's got the classic vibe that Rob's always wanted it to have. Alan Moore and Steve Skroce came close, but to establish that vibe, it's really about the marathon, as opposed to the sprint. Another good example of Rob's passion: I think he's never done better art than on the <B>YOUNGBLOOD</B> issues he drew in the ‘90s. Especially when he came back to the series after the initial miniseries. In my opinion, that was by far his best work as an artist.
<B>ES:</B> Derec Donovan's artwork is pretty different from Rob's. How'd you hook with him for <B>YOUNGBLOOD</B>?
<B>JC:</B> I wrote a lengthy run of ADVENTURES OF SUPERMAN that Derec drew, and they turned out really well. Some of my best Superman stories, no question. His art is really accessible, in terms of straight-ahead superhero art, which is what I felt the <B>YB</B> relaunch needed. Okay, he's not as fast on the draw as we'd like, but each and every issue looks amazing, so I manage to find the appropriate amount of forgiveness in my cold, black heart.
<B>ES:</B> <B>YOUNGBLOOD</B>’s going to get the trade paperback treatment pretty quickly here, too. Apart from collecting the first four issues in one neat little package, what can people expect from the trade?
<B>JC:</B> A boatload of extras. A great interview I did with Rob a few years ago where we ramble on about our favorite superhero comics (which, appropriately enough, include a lot of team books), which I always thought was worthwhile simply because it explicitly states Rob's seminal influences (and mine, too) with the kind of fanboy enthusiasm that Rob carries around wherever he goes. Get that guy talking about late ‘70s Marvel Two-In-One and prepare to be won over. There's also an interview with me where I pontificate quite eloquently on my take on Youngblood. I think there's something else in there, too...
<B>ES:</B> Ah, that’s right. We're running one of your very first comics stories in the trade, aren’t we?
<B>JC:</B> Well, back in the day it was one of my first professional sales as a writer (if not <I>the</I> first). A story featuring two YB characters that, if I recall, was intended to end up in the <B>YOUNGBLOOD STRIKEFILE</B> series. It was drawn and everything. I'm still not clear on why it never saw print somewhere. Frankly, I blame the young editor who worked there at the time.
<B>ES:</B> I think I was taking point on that whole “wait for the trade” thing, just from the editorial side of things.
<B>JC:</b> I'm sure it was a blessing in disguise. Everything seemed to work out okay and here we are, talking about a new <B>YOUNGBLOOD</B> series that I launched. Funny how things turn out.
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Kids with Guns
A few days ago, we announced that <B>THE WALKING DEAD #50</B> had sold out at the distribution level (which basically means retailers can't order more, but there may still be copies at your local store) and that we were rushing back to press to ensure there were enough copies available to meet demand. Charlie Adlard did a new wraparound cover for the second printing, and I wanted to show that off.
Neat, huh?
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Free as a Bird
Since former Image Publisher Erik Larsen still shares an office with me, I thought it might be a good idea to check in with him about how life’s treating him post-day job.
Are you ready?
Okay, let's go.
<b>Eric Stephenson: </b> Now that I've got your old gig, the plan is for you to get back to <b>SAVAGE DRAGON</b>, right?
<b>Erik Larsen: </b> Good god – yes. The reason I stepped down from the publishing gig was to get back to the drawing board. At one point I looked at all of the plans I'd made and stories that were stacking up and I came to the realization that I might never get to everything I wanted to do if I kept my lofty desk job. I got into this business to be a creator not an administrator and I really missed making comics. Once I made the decision to vacate my position I suddenly found myself with this wealth of ideas and the time to actually execute them. I'm itching to get back to doing <b>SAVAGE DRAGON</b> on a more regular basis.
<b>ES: </b> And by “regular,” you mean monthly, right?
<b>EL: </b> Absolutely. I think it's really important to be there, month in and month out. As a fan, I know how frustrating to wait for a favorite book. I want to stop being Image's latest book and get back to being Image's most timely one. I like monthly comics.
<b>ES: </b> Okay, then – for anyone who may have lost track of the book over the last several issues, what's been going on with Dragon?
<b>EL: </b> The world was taken over by a death-dealing despot named Mister Glum who has since been overthrown and things on Earth are in disarray. Dragon's wife is missing, and since Dragon and Glum had a previous relationship a lot of blame is being heaped on Dragon's shoulders. And then there's this Solar Man character who sees himself as the world's greatest superhero and is going around fixing all of the damage wrought by Glum and killing criminals left and right. There's more to it than that but those are the most pressing concerns.
<b>ES: </b> Issue #136 just came out and that featured Dragon in Seattle fighting Prism. Prism's actually another character from your childhood, right?
<b>EL: </b> Not so much mine as Al Harris's. Al and I did a fanzine called <b>GRAPHIC FANTASY</b> in which the Dragon first saw print. Al went on to become a school teacher – I went on to do comics. I thought it would be fun to have his guys drop by for an issue or two.
<b>ES: </b> And where does Dragon go from Seattle? Who else is going to pop up in the book?
<b>EL: </b> The next stop is Snap City where Dragon runs into both Madman and the Amazing Joy Buzzards. Following that, it's off to New York and an encounter with <b>GØDLAND</b>’s own Adam Archer, and then it's on to Baltimore and Invincible which leads into the formation of the "Image All-Stars," a group comprised of Savage Dragon, Spawn, Witchblade, Invincible and Shadowhawk. It's the Image Dream Team – and they face off against Solar Man in a big, knockdown, drag-out battle to end all big, knockdown, drag-out battles.
<b>ES: </b> At one point, I know you wanted to put together a kind of Image super-team. Is that still something you're interested in?
<b>EL: </b> Sure. Readers always respond positively whenever we get the gang back together. I don't think that we – the Image guys – have really done enough of that, and I'm definitely looking forward to this and the things to follow. This is the first time this specific group of characters have come together. I'm looking forward to doing that, and I'm looking forward to other plans along those lines.
<b>ES: </b> Very cool! You've also mentioned a few times recently that you're working on some other projects aside from <b>SAVAGE DRAGON</b>. Are those things still in the works?
<b>EL: </b> Once <b>SAVAGE DRAGON</b> is back on track, I'll be able to concentrate a bit on some of those other projects. I have a lot of ideas and a lot of plans and it's great to finally unburden myself from all of my publishing responsibilities in order to devote myself exclusively to producing more Image comics! Years ago, I was doing three books a month, <b>SAVAGE DRAGON</b> and a couple of books elsewhere. I'm looking forward to doing that again – only at Image. I'm through with corporate-controlled comics – I'm all about Image comics. It's great to be able to create comics without the shackles on.
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Submission
Since taking over as Publisher, I’ve received a pretty staggering number of emails asking more or less the same question. That question is this: “Will you be accepting email submissions?”
And the short answer is: Yes, we’ll continue to accept submissions for review via email. We prefer receiving email submissions, actually. It’s less trouble for you, it’s less trouble for us; it’s even better for the environment. What’s not to love?
The longer answer is that while we’re always happy to look at your submissions, there are a few things to keep in mind. First and foremost, we’re only looking for the best of the best. We approve very few blind submissions. I can count them on one hand, in fact, and still have a digit or two to spare. Unless the project you’re pitching is as good as the <I>best</I> Image title, we’re not interested. Period.
Secondly, and this is a biggie: We don’t need alternate takes on books we’re already doing. We already publish <B>THE WALKING DEAD</B>, for instance, and the recent <B>XXXOMBIES</B> on top of that. We’re not really looking for more zombie books. If you’re submitting something to us, it should be different. The last thing we want is an entire line of cookie-cutter comics. Part of what makes creator-owned comics so special is their uniqueness of each creator’s vision. If you’re not bringing us something new, an experience only <I>you</I> can offer readers, then there’s a better than good chance your project is not for Image.
Finally, if you’re a writer, your odds of having a project accepted increase exponentially if you already have an artist attached. We’re not averse to playing matchmaker between creators if the writer and artist involved already have experience, but we simply don’t have the time to invest in putting together creative teams for anyone other than working comics professionals with some sort of track record. We’re looking for the whole package. If you absolutely insist on sending a story submission in without an artist, however, keep it brief. We don’t have time to read entire scripts or story bibles. A short outline or synopsis is more than enough. If it’s incredible, we’ll ask to read more and <I>then</I> you can send your script over.
Oh, and one last thing: Don’t email your submissions directly to me. All submissions should be sent to our dedicated submission address: submissions@imagecomics.com.
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Dragon Days
I'm the publisher now and so I thought it might be a good idea if I started updating the Image blog a bit more regularly. When I sat down to write about Michael Turner’s passing last week, I realized it had been a while since I’d put anything up here. 109 days, to be exact. 109 opportunities to spread the word about Image Comics forever lost. It wasn’t intentional. “Life’s what happens while you’re busy making other plans,” John Lennon once put it. Amen.
Going forward, I want to use this space to show as much as tell, because one of the really cool parts of this gig is getting to see, say, the cover to <b>FOUR-EYES #2</b> (that’s it, right there to the upper right) before anybody else. That should make it easier for me to keep the blog updated almost daily, with the extra, added benefit of fewer rambling essays.
If you haven’t heard of <b>FOUR-EYES</b> yet, Joe Kelly mentioned it when we were chatting about <b>I KILL GIANTS</b> last week. (Scroll down past the beer cans, if you missed it!) The first issue is out in September, with crazy/beautiful art by Max Fiumara. Everything I’ve seen for this book is nothing short of incredible, and story-wise this is going to completely different from anything else out there right now.
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Look what I Found in My Beer
<a href="http://www.40ozcomics.com/" target="top">Jim Mahfood</a> rocks, and to prove it, he designed four different limited edition Custom COLT 45 16 oz. beer cans. They're out now and available at a liquor store near you, so collect 'em all! There's also an "Ink Your Own Can" contest on the Colt 45 site, and they're accepting can art from designers, artists and wannabe designers and artists from all across the country. You can enter up until October 2 of this year.
Go to <a href="http://www.talesofcolt45.com/" target="top">www.talesofcolt45.com</a> for more details.
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Gigantic
<b>Eric Stephenson:</b> So, I've read through <b>I KILL GIANTS #1</b> a few times since it showed up here at the office, and I'm totally in love with this book. For those unlucky folks who have to wait a week to read it, though, can you explain what the series is about?
<b>Joe Kelly:</b> Thanks! I'm going out of my mind waiting for this to come out - I have a deep love for this book and can't wait for it to exist in the real world. <b>I KILL GIANTS</b> is the story of Barbara Thorson, a smart-mouthed, on the fringe, fifth grade girl with an extremely rich fantasy life in the D&D-type realm. Her fantasies are so rich that she's convinced that she has a very important mission to complete: She has to kill a giant. The story follows Barbara as her fantasies and reality collide, and both begin falling apart. It's bittersweet, as a joke we call it "Juno meets Pan's Labyrinth."
<b>ES:</b> What was the inspiration for the series, for Barbara?
<b>JK:</b> Barbara was inspired by my daughter, who's very smart, very funny, and has a very left-of center set of interests, but at the time she was six. Creative and sharp, I started wondering what she'd be like older, fifth grade or so, and what she'd be like if her life wasn't so happy. The story sprung from there: What happens to a clever, creative kid whose world starts to crumble? Where do they find strength? Friends? Enemies? Where do they get the power to face immense challenges?
<b>ES:</b> Well, with that in mind: <b>I KILL GIANTS</b> is a seven-issue miniseries. Are you going to say everything you have to say in these seven issues, or is there room for a follow-up?
<b>JK:</b> It's funny, I've been thinking about that a lot since the book went to print. I love this story - it's one of the things I'm proudest of in my career, and I can't wait for people to see it. On the one hand, I want it to stand on its own, but some characters are hard to let go of. I have a feeling Barbara's going to creep back into my brain some day.
<b>ES:</b> Ken's art is fantastic, he has a great sense of design. How'd you find him?
<b>JK:</b> Oh, man. He's a superstar! I met Ken in Spain at a comic convention. He had an anthology book called Historietas out at the time, and I was blown away sitting next to him at a signing. I had written Giants quite some time before meeting Ken, and wanted to find the right artist for it, because the book means so much to me. I asked if he'd be interested, and once the planets aligned and his workload let up, he started drawing. One day I'm sure I'll have to pay off a huge karmic debt for getting to work with him before he became a giant of the art world!
<b>ES:</b> The art is kind of manga meets Calvin & Hobbes… Is that how you saw the story from the beginning, or was there a point where you wanted to a more “realistic” approach the material?
<b>JK:</b> I actually didn't expect him to take <b>IKG</b> in a "manga" direction at first, but as soon as I saw his take on Barbara, the way her glasses emote on their own - and the ears of course, I was sold. I love that you picked "Calvin and Hobbes" - the king of the fantasy/reality mash up! Ken really kicked it into the stratosphere when he showed me the line style. I always describe it as "messy manga," but that's complete nonsense. Ken is a meticulous designer, and he is extremely precise with his work. What you get is a real economy of line, but so fluid and organic that it looks like he tore through the pages effortlessly. I've seen behind the curtain, though, and I can tell you he works his butt off to make each panel sing. It's amazing.
<b>ES:</b> The cover is very striking – one of my favorite Image covers in a long while, because it looks so different – your idea or Ken's?
<b>JK:</b> Ken. As I said, he's a great designer, and he's got impeccable taste. We both have to give props to Steve Seagle, though, who suggested the red on blue.
<b>ES:</b> What's after this?
<b>JK:</b> All of the Mans of Man of Action Studios are putting out books through Image this year - my next project is <b>FOUR EYES</b>, which is a story about illegal dragon fighting in Brooklyn during the Great Depression. It's a crazy revenge/coming of age story that's beautifully drawn by Max Fiumara. Then in the late fall we're releasing my first children's book, called "Douglas Fredericks and the House of They" drawn by Ben Roman - another book I'm extremely psyched about. And for 2009... Heh, I'll make you wait for that, but those books are already being drawn too!
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Changing of the Guard
This weekend, at Wizard World Chicago, it was officially announced that Erik Larsen is stepping down as Publisher of Image Comics. I've been promoted to the position, and you can read all about that <a href="http://www.comicbookresources.com/?page=article&id=16997" target="top">here</a> and <a href="http://comicbookresources.com/?page=article&id=17007" target="top">here</a>.
I promise not to break anything.
Also, Image was awarded Best Publisher in the 2008 Best of the East Bay feature that runs in our local weekly, the <a href="http://www.eastbayexpress.com/bestof/best_publishing_company/BestOfAward?oid=776832" target="top">East Bay Express</a>. This is our fourth year in the East Bay and as far as I know, it's the first year we've been Best Publisher. I'm actually not even sure if there <i>was</i> a Best Publisher category last year. I know we're far from the only local publisher, though, so it's not like we won by default or anything. No, I think it's safe to say we won by being awesome.
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