In the light of a (mistaken) news report about the relaunched Extreme line, a question arises: What if creators gave away their creator-owned characters when they were finished with them?
Articles by Graeme McMillan
The cost of comics - Like, the actual monetary expense of making and distributing these damn things - is a source of constant curiosity/wonder/horror to me. I am arguably the furthest thing from business minded in some ways (Read: Most ways), and I admit to looking at sales figures and shaking my head at times, wondering how publishers managed to break even on certain titles, or even if they actually did.
Sometimes, you see the announcement of a project that, although you are quasi-convinced that it's likely to end in tears, you can't help yourself but be grateful for it happening in the first place, and also hoping against hope that it succeeds against the odds. To wit: The news that Titan Publishing is launching a new line of creator-owned comics aimed at the American Direct Market but created by British creators.
The second issue of IDW's Judge Dredd doesn't just feature the continuation of Duane Swierczynski and Nelson Daniel's look at the early days of Mega-City One's toughest lawman, it also contains a treat for long-time fans of the character (and British comics in general): A back-up story illustrated by none other than Brendan McCarthy! Click through for a preview of what's happening in the main story, as well as an exclusive look at two pages from the Swierczynski/McCarthy strip.
As December (and 2012 in general) draws to a close, the holiday season is now officially in full swing, and that means that it's time to think about the next year about to begin, and also maybe get a little greedy in the process. With all that in mind, here are five random things that I'd like to see from 2013's comic books.
The first time I read Ales Kot and Morgan Jeske's Change, I was distracted by all the things I didn't like about it; the similarities to the stories that influenced it, the use of language at certain places, a knowing tone that seemed smug on first read-through. I'd read - and disliked far more than I'd expected - Kot's earlier Wild Children, and that had made me suspicious of Change even before I got to the first page, I think. And then I re-read it.
Ah, the joys of comic book sales. With everything that appears in your local store on a weekly basis, you could be forgiven for overlooking some treasures waiting for you in the back issue bins or the graphic novel back stock shelves, but when the sales come along, it can be a gift: Not only a reason to dive into the back pages of things you might've missed, but also a chance to get them for less money than you would've paid the first time around.
For some reason, I keep reading and re-reading Jim Zubkavich's breakdown of indie comic economics over and over, as if at some point it's actually going to make sense to me. It's not that I don't understand the math as he presents it, but more than my brain refuses to comprehend the scale of the unfairness of distribution of wealth when it comes to comic books.
This isn't a "Best of 2012" list, because (a) 2012 isn't finished yet, and (b) every time I attempt to put "Best of" lists together, I inevitably end up forgetting something that I utterly adore and feel guilty about it afterwards. Instead, inspired by Thursday's upcoming holiday and the fact that you might be thinking about buying things on Friday for some reason, here are five things in comics from this year that I'm thankful for.
Ladies and gentlemen, my favorite page on ComiXology's website: Free Digital Comics. Yes, I'm that cheap. No, wait. That's not what I meant to say at all.
This week sees the release of Rogue Trooper: Tales of Nu Earth Vol. 3 in the UK, a collection of the final days of the original run of 2000AD's cloned science fiction soldier. Re-reading the book this weekend, it struck me how little the kid who read these strips at the time they were published appreciated some of the greatness they offered, how oddly ahead of its time Rogue Trooper was during the period these strips came from, and how surprisingly educational this book is for wonks like me who like to see how the comics sausage is made.
The other day, a friend was visiting and asked for something to read in a somewhat half-hearted manner; I gave her The Nao of Brown, fairly confident that it'd be her kind of thing in terms of tone and theme (and entirely confident that the art would bowl her over), and then started thinking about gateway comics. What makes a good introduction for newcomers to the entire comic medium?
Whether it's re-released previous print work with all-new material included, or using digital to release work that never even made it to the print stage in the first place, this past week has been one that has suggested that, yet again, old indie comics could find themselves resurrected by digital.
My problem with diary comics, I think, may be that I read them in the same way that I do other comics, and then end up feeling guilty when I judge the central character - i.e., the person creating the actual comics - for decisions they've made or things that they say. It's not even as if they know that I'm thinking such things, but nevertheless, I find myself feeling bad for being so unsympathetic to such talented people.
The notion that we rely on independent companies to save comic history is something that crept inside my head at some point last week, and refuses to leave. It's an idea that I wrestle with - almost literally, one that I want to try and defeat, just throw to the ground and finally deal with once and for all - a lot, and yet no matter how much I want to say "No, that's stupid!" it returns, whenever I turn my back, tapping me on the shoulder and saying "Well, actually…"
Okay, I admit it: I'm sold. Thing is, I couldn't tell you exactly when I got sold, and that's a strange part of the charm. I can remember enjoying, but not loving, the first X-O Manowar reboot issue, and then finding that the new Harbinger was far closer to my sense of a good thing, but it maybe wasn't until Bloodshot that I realized I was - by accident, almost - all in. The new Valiant, it seems, is a cumulative process.
The plus side of something being creator-owned is that, in most cases, that means it's also creator-controlled; the more practical and technical aspects - release schedule, pricing, etc. - are something that creators have some level of input into, even if not final say over. Which is, let's be honest, a pretty great thing… well, until it means that you have to wait for the good stuff, of course. Which is to say: I can't tell you how glad I am that Greg Rucka and Matthew Southworth's Stumptown is back this week.