Comics | Matt Pizzolo discusses the Occupy Comics project, which raised more than $28,000 on Kickstarter: “The way the money is allocated is actually through the individual contributors. The artists and writers are all paid a proportional share of the revenue based on the number of pages they provide versus the total number of pages in the book, but all of the artists and writers are agreeing to donate that money to the protesters. Most contributors want to donate as a group to get the most bang for their buck, but they don’t have to — anyone can just take their share and hand it to the protesters at their local park if they want.” [The Morton Report]
Comics | Todd Allen compares the relative positions of DC’s New 52 titles in November with their September rankings; the November orders reflect the adjustments retailers made after seeing how the different titles sold in September. The results: Animal Man shot up by 10 slots, The Fury of Firestorm: The Nuclear Men sank by eight, but most titles only moved a few notches up or down. [The Beat]
Digital | Robot 6 contributor Graeme McMillan catches some bad news for digital-firsters on the latest Word Balloon podcast — John Rood, DC’s executive vice president for sales, marketing, and business development, says the publisher won’t be in a hurry to do more digital debuts: “I think you’ll see us still experimenting, but I don’t think that any time soon digital first will expand greatly as a tool in our toolbox, you know? It’s something we’re experimenting with, but it’s not something that’s going to take a greater share of voice in the coming months.” [Blog@Newsarama]
Creators | Ramon Perez talks about adapting Tale of Sand, an unfilmed screenplay by Jim Henson and Jerry Juhl, into a graphic novel: “The script was pretty tight for a movie script. I really didn’t want to break it to down to a script because first of all, there’s very little dialogue in the actual manuscript. Being an artist, I just sat down with the script and had a custom sketchbook and just basically starting going through the script, breaking it down and then I drew the whole thing out. That was probably a week. I sent that in to the editors and that came in at about thirty pages past what they wanted me to come in at so we had to edit and shift things around. With Lisa’s permission we cut out a couple parts that were lengthy. We figured that Jim might have done this anyway during the filming process or editing. We hoped we were doing it right, but I think that the choices that we made were smart ones. It kept the story going at a nice pace. The interesting part was in the movie script where one line can be three pages of illustrations and then on the flip side three pages can be one panel.” [Suicide Girls]
Creators | Jim Zubkavich writes about writing Skullkickers: “First off, as much as parents would love for every story a young adult reads to be filled with uplifting, kind-hearted tales of the highest moral fortitude, that’s not what those teens actually want to read. The whole concept of ‘young adult’ should have most of its emphasis on adult. Young adults want to be considered adults without the ‘young’ part attached. They want to discover and understand the adult world and what it means to be in it. Their parents may not want that for them yet, but they do and they’re smart enough to get that content by hook or by crook.” [Graphic Novel Reporter]
Creators | Eva Volin interviews Tiny Titans creators Art Baltazar and Franco Aureliani in a video made at Comic-Con International. [Good Comics for Kids]
Creators | The Washburn Review profiles Proof writer Alex Grecian. [Washburn Review]
Digital | Danica Davidson talks to Robert McGuire, the editor of the indy-manga magazine GEN, which is published digitally in Japan and digitally (via downloads and Graphicly) and in print in the U.S. [Publishers Weekly Comics World]
Comics | Tony Dushane visits comic creator and tarot card reader Storm, who uses a deck of X-Men playing cards to give readings. [The Bold Italic]
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