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The Dum-Dum’s Guide to Comic Book Conventions

Good times.

Con season is upon us!

Well, my con season is, anyway.

Truth be told, most of us really don’t have a “con season.” Globetrotting jet-setters like the iFounders find themselves at ten of these things a year dragging 80 pounds of camera equipment (don’t say they never did anything for you) but the rest of us get to maybe one or two, if we’re lucky. This year, my lone con is going to be C2E2 in beautiful downtownish Chicago this weekend. As I try to prepare for something more than a day in advance for perhaps the first time since my wedding, I find myself thinking about the mistakes I seem to make every time I go to one of these things. Here now are those mistakes, so that you may learn from them and I may avoid them. Some of these may seem like common sense, but bear in mind, I am terribly stupid.

There’s more to life than panels. To the extent that you hear anything online about a convention, what you hear is usually “news” from one of the many panels being held that weekend. And yes, it is sort of cool to see that preview art projected in a hotel ballroom a full hour before everyone else sees it online. Watching the righteously indignant guy try to get up during the Q & A and sarcastically confront the writer he thinks “raped his childhood” is even more morbidly fascinating than reading about it later would have been. Getting to see the blogosphere gossip columnists on the floor huddled around the outlets joylessly transcribing the panel is sort of amusing, in a how-the-sausage-gets-made kind of way. By and large, though? The panels are about 70% skippable and nowhere near as much fun as you’ll have out on the floor. Worry more about meeting up with those people you only know from the internet. Worry more about getting to walk up to Ryan Stegman in Artists’ Alley and tell him to his face how great you think Scarlet Spider is. Years later, you and your friends will be talking way more about the cosplay you saw or the celebrity you bought a drink in the hotel bar than you’ll ever talk about the Fear Itself panel. I went to San Diego with the iFounders a few years ago, and none of us ever set foot in a single panel. We heard the news about Marvel acquiring Marvelman from someone passing by. (How’d that work out, by the way?) That night at dinner, the cast of Firefly came in and sat right next to us. That’s the stuff the memories are made of. Sure, there are cool panels to be had– the one Ali and I went to about Jim Henson’s Tale of Sand at the last C2E2 was amazing–but don’t put all your eggs in that basket.

Don’t be That Guy. You know how people talk about the crowds at cons? You know the stereotype of the pushy, sweaty slob in the undersized Flash t-shirt who creeps out the creators and helps make the room smell bad? The part about that guy that makes me saddest is that he is completely oblivious to the fact that he’s that guy. Be aware of whether or not you might be that guy, and try to avoid being that guy. Bring your deodorant; we are not animals. You know how everyone comes home with “con flu,” because everyone is pawing everything and everyone all day? Wash your hands. My personal Achilles heel is clothing; I always think, “I will be efficient and travel light,” and pack a handful of t-shirts into a backpack, then I get there and I’m completely rumpled and disheveled, going to dinner with people who remembered to pack shirts with collars. I spent most of last C2E2 looking like a homeless man Josh had taken pity on and agreed to feed. This year, I swear I may wear a tie the whole time to balance it out.

bat'leth!

"It's for recreational use only, officer."

Consider the romance of riding the rails. If you’re like me, very few conventions are in your backyard, and that trek can seem a little daunting sometimes. As Steve Martin and John Candy taught us, though, there is more than one way to get through the Midwest. I like a road trip as much as the next man, assuming the next man would rather spend the whole time reading and sleeping instead of listening to his buddy’s questionable “travel mix” for six hours. When I headed to C2E2 last year, the revelation that I could just take a train transformed the whole trip. I sat in business class, got to charge my phone the whole way there, and didn’t have to worry about rush hour traffic. (Plus: no security screenings. Feel free to impulse-buy that replica bat’leth and stuff it right in your duffle bag.) Just another option to keep in mind; your mileage literally may vary.

Things cost money. The few times I have found myself at a convention, I’ve always made the same mistake. The day before I head out, I go to the ATM and withdraw what I earnestly believe to be a decent, reasonable amount of cash for shopping on the con floor. I think, “There. Now all I have to do is wait until Sunday, when the dealers are desperate not to have to pack up all their wares and lug them all the way back to Edwardsville or wherever, and I can whip out this hefty roll o’ bills and make a killing on the sweet, sweet savings.” On Sunday morning, I open my wallet and a cartoon moth flies out of it, because I have spent three days chipping away at my cash wad with cab rides, breakfasts, tips, and convention center hot dogs that cost $43. I never remember to bring my own food. I’m never patient enough to wait for the shuttle when a taxi is parked right there on the corner. I never remember that people outside the con will only provide goods and/or services in exchange for currency. Then I’m left with $7 and a gum wrapper, and I still have to buy souvenirs for my family.

Maybe don’t buy souvenirs for your family. Yes, it is sweet and thoughtful that your significant other let you off the chain for the weekend and didn’t even roll her eyes until you were out of the room. He or she may even be, say, spending all weekend singlehandedly wrangling your two children, who will also miss you a great deal the whole time. However, you are probably the only person in the house who likes comics, and no matter which action figure or shirt or novelty Norse hammer you bring them, they won’t care all that much. Hypothetically, your wife still hasn’t looked at what you brought her last year, and your children gleefully tore up the Power Pack collection you bought with your last five bucks right before your eyes because they can’t read yet, you nimrod. Hypothetically. Take them all to Six Flags when you get home and call it a day.

That thing about waiting until Sunday to shop is no joke. Ever try to carry a box full of Omniboo across town? Try doing it on Wednesday, spending twelve hours on your feet for the next three days, and then loading it all up again for the trip home. Many dealers are all too eager to ditch that entire crate of Essential Man-Things on the first shlub who comes along Sunday with three dollars or a reasonably shiny button.

Check the weather forecast, dum-dum. “It’s 70° here today; I assume it will be exactly like this hundreds of miles away, days from now. Say, what’s this ‘Lake Effect’?” -me, always

With any luck, these tips from a professional amateur will serve you well. If nothing else, I can pin them to my shirt this weekend to keep me from making too big a fool of myself.


Jim Mroczkowski will see you on the floor, Sexy Lady Moon Knight.

Comic Book Movie Anticipation

I was hanging out with some friends, none of whom are comics nerds, and I asked if there were any movies they were excited for this year. They all, in their own way, informed me that they don’t really follow or get excited for things like movies. Nothing snobby, just matter of fact. I was unexpectedly floored by this revelation. I get not like certain genres or preferring TV to film, but these guys seemed to not have a pop culture bone in their bodies. Rather than force the issue, I decided to have another beer and wait to share my thoughts with the iFanbase.

To be fair, I’m not a guy who really gets all that excited for movies either. I watch a lot of trailers (it’s a segment on my podcast) but rarely do I get to the theatre to see them. And I almost never sit down on the couch to watch a movie at home. It’s something of a production to find a night where neither myself nor my girlfriend don’t have work to do in the evenings, can actually decide on a movie, and then sit down and watch it. And when the stars align usually one of us falls asleep. It’s not that we don’t love movies, she has a degree in film, it’s just when you’re not in the habit going to the actual theater seems like an extravagance and staying home requires too much coordination.

I expect at this point some of you understand my situation completely, whereas others are beyond perplexed. The latter half of you are probably feeling something akin to how I felt when my friends said they didn’t care about new releases at all. I’d say I’m somewhere in the middle leaning towards not caring, but a part of this community enough that I can’t avoid some of the news and thus some of the anticipation. This tends to mean that the only movies I DO get to the theater for are comic book movies.

So which movies am I excited enough to brave the multiplex (or Netflix) for? Let’s find out.

 

Ghost Rider: Spirit of Vengeance

Excitement level: Idris Elba

At one point somewhere in between Luther and Ultraviolet I commented that I’d probably watch anything that had Idris Elba in it. Then Ghost Rider got a sequel and I had to eat my words but I had zero desire to get anywhere near that movie, let alone pay money for it at the theater. It’s already come and gone so it may be a moot point, and it’s not that I don’t think the Ghost Rider character has potential, I just don’t care and can’t pretend that I do. Sorry, Idris.

 

 

 

 

Marvel’s The Avengers

Excitement level: Mosh pit

In my younger days I enjoyed a good punk show, and nothing makes a punk show good like a mosh pit. And the more I think about it, the more I’m convinced that it can provide a sound metaphor for The Avengers. We all went and saw Iron Man hoping for a good movie that maybe referenced other aspects of the Marvel U, and what we got was more. Nick Fury after the end credits was like the initial clearing of the circle, showing you that maybe, just maybe, there could be more to this rock show than just music. Then we pushed our way through the other movies: Hulk, Iron Man 2, Thor, Captain America; until we found ourselves standing at the edge, suspended between sweaty cramped safety and cleared-out chaos. We know as soon as we dive into the fray it’s going to be some kind of mess, lots of pieces bouncing off and around each other, with the perpetual risk of getting elbowed in the face. If the pieces move in some kind of synchronicity, all could be well and The Avengers will win the day. Or it could fall apart and we’ll have to call the paramedics. Either way, I’ll be at the theater for this one.

 

The Amazing Spider-Man

Excitement level: Blonde

I am actually looking forward to the Spider-Man reboot. But as much as I’m stoked, I also feel like I know what I’m going to get. It’s the Spider-Man origin featuring Gwen Stacey and the Lizard (Marvel’s other mild-mannered scientist who gets green when angry). This is a story I’ve seen time and time again, I’m hoping there’s an unexpected twist of the whole thing, which it sounds like there might be concerning Peter’s parents, but I don’t know enough about that potential storyline to really get pumped. However, I love Spider-Man. The original Spider-Man movie was extremely high on my anticipation spectrum (I even read the novelization before the movie came out), and I expect I’ll actually enjoy this incarnation more, so this one will get me to the cinema as fast as if I was web-slinging.

 

The Dark Knight Rises

Excitement level: Threat-level midnight

Where to begin? The Dark Knight Rises is easily at the top of my stack in terms of sheer excitement. I’ve liked a lot of Nolan’s work because it doesn’t spoon feed the viewer and give people exactly what they want, so I expect nothing less with his final chapter for Batman. I’ve heard a lot of speculation and have some of my own (the topic of an upcoming column) but if he can match the suspense, intrigue, and realism of the first two films I think we’re in for a treat. I know Batman Begins and The Dark Knight aren’t perfect films, but the fact that those two movies have put a twist on the mythos means that anything could happen to finish out the series. This might be the only midnight movie for me in the bunch.

 

 

Dredd

Excitement level: huh?

Oh yeah, there’s a new Judge Dredd movie coming out. It has Karl Urban, which is a definite plus, but I have no particular affinity for the character and might still be in recover from Rises, so this one is completely up in the air for me.

 

And of course this column ends as any column like this should, with a question. What about you noble iFanbase? Have I panned your favorite? Exalted your pariah? Let’s hash out it in the comments!

 


Ryan Haupt doesn’t criticize the science in movies as much as you might expect, but he did watch Jurassic Park with his podcast pals and post that online as a Special Edition of his show Science… sort of.

The iFanboy Letter Column – 03.02.2012

Hi there! I’m famous, not-quite-leading man, Eric Stoltz. You might know me from such films as Pulp Fiction, Mask, and Back to the Future. Scratch that last one, actually.

At iFanboy, Friday means it’s letter column time. For some, Friday means sitting back and watching episodes of Caprica, only to be beset by some distant longing you can’t quite recognize as the feeling of really not being as good as you’d hoped. You wouldn’t be alone. For others, it’s avoiding rolling your eyes as you try to have dinner while college kids ask you to recite the line “that’s my wife,” for the thousandth time since that movie came out. For other still, it’s about realizing that you are capable of growing one of the most badass red beards this side of vikings, and knowing, at least you have that.

Around these parts, Friday is letter column time.

You write. They answer. Very simple.

Hey, did I mention that I would have made an excellent Hank Pym, had they done that movie 5-10 years back? Totally.

As always, if you want to have your e-mail read on the any of iFanboy’s shows or answered here, in the letter’s column keep them coming to contact@ifanboy.com


I would like to have your opinion on digital comics pricing. I would like to start my collection digitally but keep myself from doing it mainly because of the price. Let me give a quick example: this week I wanted to check out T.H.U.N.D.E.R. Agents, Vol 2 #1, but I haven’t read the first series yet. I thought “this could be the occasion for me to go digital, buy the collection online and follow-up with the Vol 2 after that”. As of right now, the 10 comics can be bought for about $19 on the DC store. But then I noticed the TPB would be released on the same week than the Vol 2 #1, I went on Instocktrades.com, “BAM”, around $14.50 for the TPB. I still prefer to own the book than the digital comics, so I would prefer to buy the TPB instead of the digital collection, but then I would prefer to buy the vol 2 digitally than to own the book, also because the price would be less in that format and I don’t like to wait for the TPB… But for my collection I don’t want to own one part in paper, the other digitally. I haven’t decided yet what I’m going to go for, probably buy the first issue digitally and if I like it (to read digitally and the comic itself), continue like that. But in the end I’m still thinking comics should be less expensive in there digital format, at least as soon as they have been re-issued in TPB. Of course some would think I’m just a little greedy, but for me it more “the less I pay, the more I can buy”, as everybody, I have a budget and my needs have to fit in it… What do you think?

Eric

I think it depends on what you think you’re paying for, and what you want to pay for.

Before getting too into it, I thoroughly believe that “should” needs to be left out of the equation before we get started talking about pricing. The publisher, in this case, a business who wants to make as much profit as possible, has no “should” in terms of pricing for the consumer. If you think a digital comic “should” be $0.99, what you’re really saying is you “want” them to be $0.99. The publisher “wants” them to be $2.99 or more. So let’s just accept that the pricing it what it is, and it’s up to you, the consumer to decide whether you’re okay with paying that price.

So what is it that you’re interested in? Do you want to pay the least amount of money possible, regardless of format or convenience? In that case, mail order from Amazon or InStockTrades is probably the way to go. You’re sacrificing “right now” for the lower price, and that’s fair. Do you think comics are more valuable (for you, not on a secondary market) if they are an object, or do you think the content is what you’re paying for, meaning, are you attaching value to the paper that the pictures are printed on, or the pictures themselves. This varies widely by individual consumer. Personally, while I’m completely agreed with the idea that the art is the real object of value, I’ll also admit that I’m somewhat loathe to pay $4 for 20-22 pages of content in digital form. Or paper either, if I think about it. It feels like it should be cheaper, and I can accept that.

On the other hand, fuck all that clutter. Seriously. These boxes are burdensome, and only become more so every day that passes. Some things I only want to read once. I don’t like buying trades of books that I think are only okay. I want to buy trades and keep them, but I only want to keep trades that are excellent. It’s not even about the money at that point. Sometimes, you do want to read something “right now”. I forgot to pick up a book at the shop (a shop I go to mostly because I want to support my friends who run it, not because I love the objects), and I wanted to read it that day. That’s a digital purchase. After I read it, I felt no different than had I read it on paper, and like that paper book, I was never going to read it again. Same price paid, same feeling achieved.

So what’s the better deal? Clearly, it depends on the individual, and luckily, there doesn’t have to be one answer, because you’ve got more choices than comic book readers have ever had. You do the thing you want, and you decide if that’s the price you want to pay, and weigh all those factors, and you’ll have your choice. It might be different depending on your mood, your current cash flow, or the circumstances at the moment. Say you’re going on a trip, and want to have lots to read, but don’t want to carry a ton of comics with you (and that weight adds up), then digital comics on an iPad seems like a hell of a good way to go. You might be paying more or the same price as paper, but it’s so much more convenient for your needs. It’s about what’s important to you, and every choice has benefits and disadvantages.

Any way you do it, buying comics is good for the industry, and enjoying them is good for you.

Josh Flanagan


Do you feel like Kieron Gillen got the short end of the stick when picking his X-Squad? I really want to be liking Uncanny X-Men as much as Wolverine and the X-Men, but I think the problem is the Uncanny squad is so damn dull. Cyclops, great character, but stoic and pretty vanilla. Danger’s a robot, Emma true to her name is frosty, Magneto’s so damn serious, and I’ve had just about enough of Emo-Colossus. Namor’s the only member with any personality, and I still don’t feel like he belongs there entirely. Maybe it’s just such stark contrast to Aaron’s team, full of so much quirky personality.

 Jason from Chicago

I can’t say I disagree with you when talking about the X-Men characters featured in Wolverine and the X-Men. Jason Aaron has grouped together an interesting collection of mutants and they’re really making the quirky fun angle work in ways we never would have anticipated. But I do disagree with you when taking a look at the squad in Uncanny X-Men.  That said, I can understand how/why you’d feel this way, but I simply don’t agree.

When Regenesis hit the X-Men books, we discussed the necessary difference in tone between Uncanny X-Men and Wolverine and the X-Men. Once we saw the humorous approach that Aaron was taking would have to be contrasted with a more serious take in Uncanny X-Men. When Gillen introduced his squad as the self-dubbed “Extinction Team,” it was clear that this was an X-Men team that meant business. Now, admittedly I’m biased because I’m a big Cyclops fan, but I think that that if you look at the team, it’s hard to argue that it’s full of some of the most powerful mutants around. Hell, simply having Cyclops, Emma and Colossus (now with the Juggernaut powers) would be enough, but adding Magneto and Namor puts them way over the top.

But I have a feeling in your evaluation of the Uncanny X-Men lineup, you’re not too concerned with power levels, and more focused on personality and the entertainment factor. Now, while this team is a bit more focused and serious, there’s already been their own brand of personality present. First off, you have the triangle between Cyclops, Emma and Namor, which is always amusing to watch. Then you have the swagger and confidence of Magneto, who at any given moment can flip and go back to his evil ways. And while you dismissed Colossus as being “emo”, the relationship between Peter and his sister Magik is a source of conflict, as well as struggle with the new powers brought by the Juggernaut. Now, I absolutely do agree with you that they’re not as quirky as the characters in Wolverine and the X-Men, but they absolutely do bring personality and enough interesting situations to make the book more than satisfying, at least in my opinion.

The great thing thought is that if characters of Uncanny don’t do it for you, then don’t read the book. Nothing says you have to. If you’re looking for quirk, then Wolverine and the X-Men, and perhaps the New Mutants are the X-Books for you. There truly is something for everyone!

Ron Richards

(UPDATE) The Gary Friedrich Situation & What That Has to Do with Sean Murphy and Commissions

I assume you are aware of the Gary Friedrich Situation. The basic gist is that Gary Friedrich sued Marvel claiming copyright of Ghost Rider, a character he might have co-created. He lost the lawsuit, and the judge ordered Friedrich to pay $17,000 in damages, and he’s not allowed to sell Ghost Rider themed anything anymore. He’s also a bit older, and if the stories are true, not in the best financial situation.

Some see this as a corporation stomping on the little guy. Others see it as a baseless lawsuit. Me? I don’t know. I think it’s not as clear cut as any of those simple answers.

Cartoonist Ty Templeton put it this way:

It’s a tough call, honestly, and there is no shortage of people sharing their minds on the subject.

One way it’s affecting artists is in the area of selling sketches and sketchbooks featuring copyrighted characters, and whether the publishers can come down on you for that. I’ve thought about it for years as I wander through comic conventions. There is unlicensed merchandise everywhere. I always figured there was so much that the IP holders didn’t have the resources to do anything about it. But in the case with Friedrich, it was used as a stick

In response, artist Sean Murphy (Joe the Barbarian, American Vampire: Survival of the Fittest) has decreed that he’ll no longer do commissions of unauthorized characters.

Regarding the debate of whether comic artists should continue selling unauthorized prints/sketches of characters they don’t own, I think Bissette and his legal advisor are 100% correct.  So from now on, I won’t be doing any sketches or commissions at shows of any character that I don’t own.  Am I rolling over in fear of Marvel?  Maybe, but as it states below, they’re in their legal right to come after me if there’s ever a dispute.  I love to complain about the Big Two, but I can’t (in good conscience) get upset at them if I’m breaking the rules myself.  Being DC exclusive, maybe I can get a waiver that allows me to sketch DC characters, so I’ll keep you updated.

He goes on to cite comments made by Stephen Bissette’s legal advisor, who claims of the above cartoon that Templeton “is talking (drawing?) out of his ass.”

As will happen, the online comics community has been talking about this all day. If lots of artists took this road, the gray market of convention sketches and copyright would change completely. Is that a bad thing? It depends on your point of view. Artists who make this pledge are certain to lose at least some money, and it might be a little harder to fill out your X-Men themed sketchbook, but it’s also a sensible course. But is it undue caution? Time will tell.

In the meantime, whether he’s in the right or not, Steve Niles has set up a place where people can donate to Gary Friedrich to help him with his legal expenses, and whatever else he might need.

If we’ve learned nothing else over the past month, read your contracts, and be well aware of what you’re signing, and who owns what. Use the lessons of yesterday to make better decisions today, and as readers, keep yourself informed so that you’re giving your money to the people you want to support.

UPDATE: Comic Book Resources spoke with Marvel Publisher Dan Buckley and Chief Creative Officer Joe Quesada about this situation in general and in the below quotes they spoke to the concerns of this lawsuit infringing on the activities in artist’s alley at conventions.

Joe Quesada:

Let me put this as simply as I can: Marvel is not looking to make any new policy announcements through this lawsuit — a lawsuit that began five years ago.

As a case in point, the Internet and the creative community became incredibly concerned when Disney acquired Marvel in 2009, thinking that Marvel now wouldn’t return original art to its artists, even despite my publicly stating the contrary. As you can see, that was unfounded.

Dan Buckley:

We in no way want to interfere with creators at conventions who are providing a positive Marvel experience for our fans. We want fans to speak and interact with the creators who wrote, penciled, inked, lettered, colored or edited their favorite stories. Part of that positive interaction is that a fan can walk away with a signed memento or personalized sketch from an artist.

DC Histories: Challengers of the Unknown

Welcome back to another DC History. We’re well into the New 52 at this point, but there’s still much that can be gained by examining how we got here. Only by looking back at what came before can we understand where we’re going.

This week, we’re looking at the Challengers of the Unknown. There have been three separate groups claiming that name and we’re going to be looking at all of them. But let’s start at the beginning, shall we?

Showcase #6 (1957) Cover

In 1957, Jack Kirby was doing freelance work for DC Comics. He was doing very little superhero work, just the occasional six page Green Arrow story, with most of his work focusing on one-off stories in titles like House of Mystery and Adventure Comics. One year before he left DC to work for Atlas, where he would eventually help create the Marvel Universe, he co-created the Challengers of the Unknown in the pages of Showcase.

Showcase was the title that DC used to try out new concepts. Barry Allen had been created just two issues prior to the Challengers’ debut. Hal Jordan would debut a while later in Showcase #22. Issue 6 belonged to the Challs (as they would come to be called). In this issue, readers were introduced to four extraordinary men.

From Adventures of Superman #508 (1994)

Each man was a legend in his own field. Professor Haley was a deep-sea diver. Red Ryan was a master mountaineer and acrobat. Rocky Davis was an ex-wrestling champion. Ace Morgan was a test pilot without fear years before Hal Jordan existed. The four of them were invited to appear on a television program which was doing interviews with great men. To save on money, the program just had Ace fly the other three on a private jet straight to the studio. The plane hit bad weather, which forced them to crash land.

From Secret Origins (Vol. 3) #12 (1987)

Feeling as though they cheated death, the four men claimed that they were living on ‘borrowed time.’ They decided to buy matching jumpsuits and do the things that other people just couldn’t do. They would challenge the unknown.

Due to the similar origin story and matching jumpsuits, the original Challengers of the Unknown were very visually similar to the Fantastic Four only without the whole cosmic rays thing. It must have been an aesthetic that Jack Kirby enjoyed during these years.

In the Challs’ early adventures, the ‘unknown’ turned out to be a lot of giant creatures from beneath the earth, giant robots from other dimensions, and giant aliens from outer space. Also, giant primates.

From Challengers of the Unknown (Vol. 1) #20 (1961)

During all this commotion, the Challs took a home base in a location they called Challengers Mountain, which was a hollowed out mountain top. Also during this time they took on an honorary fifth member of the team named June Robbins. June was an archaeologist and knowledgeable about technology, but she hadn’t lived through the same plane crash as the men. She was just a sidekick.

The Challs’ ongoing series wrapped up in 1970, although a few sporadic attempts to get it going again failed to get things moving. During one such attempt, a novel was published featuring a brand new Challengers story. In it, our heroes traveled to South America to take on a local swamp monster and ran into some Nazis. It’s actually quite fun. Perhaps the strangest thing about it is the lack of ties to the comic anywhere on the book jacket. There’s not a DC logo to be found anywhere. If you didn’t know this was based on a comic book, the book didn’t seem to think you needed to.

Challengers of the Unknown (1977) Novel Cover

The Challengers hit a lull after around the time that this book came out. Their ongoing series survived one more push in 1978 but then it went away for good. The Challs still showed up here and there, guest starring in other titles but that was it.

In 1991, a new volume of Challengers of the Unknown was released. Best remembered as being the first collaboration between Jeph Loeb and Tim Sale, the new Challengers story dealt with an explosion that happened inside Challengers Mountain after our heroes hit middle age. A small community had sprung up around the Mountain during the years following the Challs’ first appearance and this explosion devastated the population. Rocky, Ace, and Red sprung into action to save as many lives as they could. The Professor and June were missing and presumed dead in the blast.

From Challengers of the Unknown (Vol. 2) #1 (1991)

After the three remaining Challs were acquitted of wrongdoing in the damage done to the town and for the lives lost, Ace, Rocky, and Red went their separate ways. Ace began to delve into the mystic arts. Red became a gun for hire. Rocky moved to Hollywood, made a few films, and lost himself to alcoholism. Eventually, the three aging heroes came back together to find out the secret behind the Mountain’s explosion. Along the way, they learned that the Professor and June may still be alive in an alternate dimension but had no way of getting back home.

From Challengers of the Unknown (Vol. 2) #7 (1991)

It seems fairly obvious that more was planned for these characters, though nothing came to fruition. Sales of the 8-issue miniseries weren’t enough for an ongoing to be launched from it and this version of the Challengers didn’t really show up again. The shame of it all is that this miniseries is quite good. Luckily, in 2004 this series was republished in a trade titled The Challengers of the Unknown Must Die! after Loeb and Sale became well known in comics circles. It’s not too hard to track this miniseries down.

Years later, a new group of Challengers showed up. This time, it was a bit of a diverse group who took the name.

From Challengers of the Unknown (Vol. 3) #1 (1997)

Known to early online fans as the X-Challs due to their thematic similarities to the X-Files, this group was a different bunch than their predecessors. These four were  a physicist named Brenda Ruskin, a computer game designer named Kenn Kawa, a race car driver named Clay Brody, and a commercial pilot named Marlon Corbet. During a regular flight in which Marlon was the co-pilot, a bright light flashed in the sky. The light damaged the plane, forcing it to crash just as the first Challs’ plane did. This time, 274 people died on that flight. The four that remained decided that they too were living on borrowed time. After getting the okay from Rocky Davis, the only Challenger they could still find, the four became the newly incorporated Challengers of the Unknown.

While the mystery behind the bright light was the main mystery of the series, these new Challs were just a phone call away from anyone who needed them. They had their own secretary and a mysterious donor funding their operation. Nearly all of the calls they went on were supernatural in nature. They dealt with zombies, otherworldly possession, ghosts, time travelers, and even an Irish banshee.

From Challengers of the Unknown (Vol. 3) #13 (1998)

In the all-too-brief issues of this volume of Challs stories, there was pretty great art. John Paul Leon did the pencils for most of the first year, which was gorgeous. The characters, written by Steven Grant, were compelling and the whole package was just wonderful. Sadly, this series only lasted 18 issues and the final issue was setting up the next major story arc that was never published. Still, this is easily my favorite version of the Challengers.

A few years after their last series ended, another new set of Challs showed up. This time written and drawn by Howard Chaykin, the Challs hit comic stands guns blazing. This new team was made up of five people from random walks of life who had been kidnapped and brainwashed by a sinister organization that was secretly controlling the world.

From Challengers of the Unknown (Vol. 4) #2 (2004)

Between the unsubtle parody of right-wing news that Chaykin crammed into nearly every page and the complete departure from past Challengers stories, this series was a big misstep. This team was made up of Manchurian Candidate-style assassins who tended to lead with their guns. After the sixth issue hit, these Challs were never heard from again.

Just a few years later, the original Challengers returned in a The Brave and the Bold revival. Mark Waid penned the first year of that series which saw the original Challs become the new owners of the Book of Destiny.

From The Brave and the Bold (Vol. 3) #6 (2007)

Just like that, the middle aged Challs of Jeph Loeb’s version, the investigators of Steven Grant’s version, and the assassins of Howard Chaykin’s version simply ceased to exist. It was a clean wipe back to the original Kirby creation.

The Challs kept the Book of Destiny and had a few adventures with it, but that was about it.

Now, in the New 52, the Challengers are returning in the pages of DC Universe Presents. Along with the Challengers’ return, it appears that we have yet another shake-up in their status quo.

DC Universe Presents #6 (2012) Cover

According to the previews for this title, there are eight Challs now. This new group is a mash-up of the original Challs and Steven Grant’s team. I am ridiculously excited to see all of these characters again. Here’s hoping DiDio and Ordway do right by them.


Jeff Reid knows that it wouldn’t last any longer than just a handful of issues, but he’d really like there to be another Challengers ongoing. A boy can dream, can’t he? Make his more realistic dreams come true by following him on Twitter.

Let’s All Go To The Library

Disclaimer: I wrote this whole thing before realizing that Jimski wrote a similar piece back in 2009, but I think they’re different enough to both be worth reading.

Today is the winter solstice, a time of year when short days make us all depressed so we give each other gifts to provide hope in the darkness. But what if that one book you really wanted wasn’t under the yule log? And after spending all your money on gifts for others you now find yourself lacking funds to purchase it for yourself. This is a dire situation, to be sure, but there is an answer: the public library!

"Spider-man? Just down the hall on your right, can't miss it."

That’s right, that run-down building you normally think of as a haven for the homeless actually contains books, and loads of them. Some of those books might even be comics! I realize that the utility of this post for varies dramatically based on geographic location, but odds are there is some sort of literary depository in your vicinity. If you’re not sure, I’ve found the phrase “Donde esta la biblioteca?” to be quite useful. There’s also this nice website to help you find your closest library location.

Many libraries even allow you to search their collections online. On a whim I searched my own local Nashville Public Library for “Watchmen” and found not only the original graphic novel, but the movie, the soundtrack for the movie, the Watching the Watchmen companion book, and a book called Watchmen and Philosophy: A Rorschach Test. Granted this was a library in a larger city and a very popular book, but it took all of 30 seconds for me to find the library website, search, and get results. It’s like Amazon but instead of paying money to wait for the item to arrive at your home, you just hop in your car/bike/bus/shoes and go get it yourself FOR FREE!

And free is the craziest part of this whole scheme Benny Franklin set up to piss off the British for taxing our tea, or something like that. Everything at the library is free (assuming you abide by due dates), you just walk in, grab an armful of goodies, plop down a card, and you’re on your way. A lot of places even allow you to renew online, which I can personally attest is a lifesaver.

Also discovered fire using a kite during a hurricane. FACT.

Free may be the craziest part of the scheme but it’s far from the coolest. Here’s what happens to me whenever I go down to the library (this scenario applies to any book, not just comics). I first look up the reference number for the book I know I want, then I saunter, yes saunter, over to the correct section and start browsing. I’ve never walked away with less than 3 or 4 extra books on the topic just by giving myself time to browse. This is also a strong argument for bookstores over online shopping, but bookstores aren’t often as rigorous in their shelving as libraries, and you often have to pay for the product which makes you less likely to grad other things on a lark.

However, there is a possibility that the library doesn’t have the exact comic you were looking for. If so, they may have a request system. Mine does and I usually get the book I’m asking for. But that may not be possible because library budgets are limited and comics demand possibly minimal. But those are just two of many reasons a library might have shied away from a robust comics collection. This is where you can be a Franklin-esque ambassador to the masses. If you find your library has a collection, but maybe it’s inappropriately shelved or whatever; go up and talk to a librarian. The people that work at the library I frequent (the science one in the base of my building) are awesome, intelligent, and engaged folks who actively want to make their facility as outstanding as possible. So if you’re the kind of person to help your local community, talk to the librarians about their comics collection. Don’t be creepy, but let them know that you’re a comics fan and that if they needed someone to help them tell if a book is all-ages or young adult you’d be happy to help distinguish. You never know how much of their hesitance is based solely around not having a knowledgeable person to help wade through the immensity of available titles. YOU COULD SINGLE-HANDEDLY SAVE THE TOWN LIBRARY! But seriously, don’t be creepy; librarians have to deal with that enough.

Now if you wanted to go the extra mile, you could see if the library accepts donations. I probably won’t read my Starman trade paperbacks now that I have several omnibuses, so why not make those available to the masses? How cool would it be to go back a few months after donating and find them checked out and know that someone is enjoying some great comics because you gave away something you didn’t even need?

There’s one last element about libraries that I think is worth mentioning. In every discussion on this site about comics piracy there are many of the same tire excuses trotted out: I can’t afford weekly books, it’s only making a copy so it’s not really stealing, would it be stealing if I lent books to a friend, etc. In my opinion, these excuses fall even flatter in the face of a well-stocked library. It’s free, legal, and presumably the book was paid for at some point in its history. It could not be simpler. Even if you’re scoffing while reading this ask yourself when you last browsed the libraries comics section? Or even looked for a book in their catalog online? Or even thought about it as a possibility before heading to the torrents? Ok, I’m off my soapbox now. (Soapboxes also invented by Ben Franklin, he just never knew when to quit.)

So that’s my ode to the library. I really do think there one of the most worthwhile establishments that nobody seems to use. So if this column had any affect at all go out there and change the trend, support your local community and offer to help if need be. It’s what the holidays are all about, right?

______________________________________________________________________________________________

Ryan Haupt wanted to sleep in, but if he had he’d have missed his deadline and most of the day. Stupid solstice. Check out his podcast Science… sort offor more winter madness

iFanboy’s 2011 Holiday Gift Guide: The Expensive Stuff

Red and green. They say the official colors of Christmas were chosen because we spend til we bleed. It also had to do with holly branches, but that’s not the metaphor I need right now.

We round out our week of holiday gift guides with the highest of high end goodies. The wallet-busting deluxe editions so appropriate to the economic climate. Consider this your Sky Mall catalog of yuletide comics decadence.

For its rich, rich marrow:

The Complete Bone in Color

We’re pretty sure they consulted the guys who saved Apollo 13 to develop the binding technology that made this mammoth omnibus possible. Over 1300 pages rendered in color to celebrate the 20th anniversary of Jeff Smith’s fantasy epic Bone. The previous single volume edition in black and white remains pretty dope, but the quality of this slipcased hardcover edition with its lush colors makes it an absolute landmark. It certainly doesn’t hurt that it’s one of the most impressive tales in American comics, all told through a singular voice. ($90 on Amazon)

You need reasons? How about five?

Parker the Martini Edition

The first two entries in Darwyn Cooke’s sensational adaptation of Westlake’s Parker saga are bigger and better than ever in this deluxe slipcase. Appropriately black and blue, and outfitted with sumptuous bonus material, it’s the Miles Davis bootlegs of your premium comics collection. It’s the first thing you want to grab before slapping on a getaway face and starting your new life as a mug with principles. ($75 retail, and a merciful $47.25 on Amazon)

For Asgard!

Thor by Walt Simonson Omnibus

The definition of definitive. Had the Thor story begun and ended with these pages, it’d still be legend. From the arrival of Beta Ray Bill, a chance meeting with Clark Kent, the death of Odin, and an amphibious transformation, this is a bona fide epic. Clocking in at over 1000 pages, it’s also worthy of the tome moniker. If they loved the flick and want to see a master storyteller at his peak, Simonson’s Thor hammers it home. ($70.45)

For…we seriously have no idea, but we like talking about it.

DC The New 52 Omnibus

Earlier this week, Josh C. rounded a long list of gifts for boys aged 7 and made a special highlight for the fan who has everything. This? It’s for the fan who needs everything. All 52 #1 issues of DC Comics’ 2011 relaunch are packaged together in a 1200+ page behemoth. It retails for $150, making it one of the pricier samplers yet printed. It’s hard to say if a new reader would benefit from this anthology of teasers, but as a keepsake, it’s about as comprehensive a time capsule for DC comics in 2011 as you’ll find in one place. ($89.99 on Amazon)

For Johnny, man! We’ll do it for Johnny!

The fantastic Four by John Byrne Omnibus

If John Byrne’s tenure with Marvel’s First Family is the second most popular Fantastic Four run in history, it’s only because he’s going toe-to-toe with the King himself. But if you want to go a little more modern than a Stan Lee script, this is your jam. This one also features relevant issues of Alpha Flight, Avengers, and Spectacular Spider-Man. ($77.17)

For those who smell like teen spirit:

The New Teen Titans Omnibus vol. 1

If Red Hood and the Outlaws has you less hot than bothered, consider revisiting the iconic 80s series that put the Star in Starfire. Dick Grayson comes into his own as captain of The New Teen Titans, a team that once vied for supremacy with the irrepressible X-Men. Next year’s second volume leads us into “The Judas Contract,” which Conor rightly suggests as the coolest name for a superhero story just about ever. Off the shelf, it goes for about 75 clams, but online it can be had for a price that practically disqualifies it from this list. ($41.40)

For Doop, when it happens.

X-Statix

What’s weird and wild and Allred all over? It’s the X-Statix by Peter Milligan and Mike Allred. Big Two superhero comics had never been so bizarre, and this motley crew of mutants set a new tone for subversion. Combine Milligan’s wild, gross-out scripts with art from Allred, Darwyn Cooke, Sean Phillips, Duncan Fegredo, Paul Pope, Nick Dragotta, and Phillip Bond…and you’ve got money well spent. ($74.55)

What’s Wrong With You? Don’t Be Creepy

This one goes out to all the fans.

One of my main pieces of advice to folks looking to break into comics (whatever that means) is “don’t be creepy.” I want to extend that to all fans today. If you’re the guy at the DC panel with the really old comic book t-shirt and you’re getting angry about their Green Arrow answer, you’re probably the creepy guy. If you’re hanging out on message boards under an anonymous name, just waiting to prove to people that they don’t know how right you are about some arcane thing, you’re probably the creepy guy. If you’re on Twitter, and all of your interaction is with comics and pop culture celebrities and you don’t know any of them… little creepy. Of course, this isn’t most fans. But then most fans, myself included, do it a little bit. That’s OK. It’s when you go overboard.

These are the kinds of things that happen when you make your hobby, in this case comics, your entire world. Comics are great. They are the most under appreciated art form and storytelling device in popular culture, and the community is made up of some of the smartest, funniest, more talented professionals and fans out there. But comics should not be the only thing you’ve got going on. I know this is going to sound antithetical, but I’m going to share something with you. When we have iFanboy meetups, I am most thrilled when people want to talk to me about something other than comics. I talk about comics all the time, but the chances are, if it’s anything I know anything about, I’ve talked it to death already at work. Be well rounded, be interesting, and make sure your focus isn’t so myopic that something in comics can ruin your day. Nothing in comics should ruin your day. It was a joke, but some days, Bill Shatner get it right when he told the Trekkies to get a life.

Example: there are lots of rumors about Watchmen 2 going around. I love Watchmen. It’s one of my favorite pieces of fiction ever. It’s also one of the finest comic books I’ve ever read. I don’t think it should be touched. I don’t think a sequel needs to be made. I didn’t think a movie needed to be made. All those things are happening. It affects me not one whit. I’m gonna get angry about things that actually affect me, like health insurance and traffic. If you don’t want to read a Watchmen sequel, then don’t. Your problem is solved. I don’t want to read a Watchmen sequel. But I will have to. Then again, Darwyn Cooke? Fine, I’ll look!

I’ve seen fans go to town on twitter and message boards ripping into pros for their comic book work, as if they’d done something to their family. Why? What does that fan hope to accomplish. We did ten years of hearing people rail against Joe Quesada with as much passion as someone who hates the president. I suppose if you’re a Marvel shareholder, then you could take Quesada’s decisions personally. But then again, if you were a Marvel shareholder, Joe Quesada also made you a metric assload of money.

They’re just comics. If you don’t like one comic, get a different one. Don’t wrap yourself up in these characters so much that it’s detrimental to your well being and personal countenance, either in real life or online.

That isn’t the same as being invested in characters. Hell, if you’re not invested, what’s the point? But know the line. Know where interest in a fictional world ends, and its actual effect on your life begins. Imagine the comic book community, especially online, as one big gathering, a party even, and you’re there because it’s a cool, fun place to be. Do you want to be the guy in the middle of the party yelling and being angry and making everyone else at the party upset and uncomfortable? Why would you want to be at a party when you hate everyone and everything there? If you don’t want to be there, does it make you feel better to give everyone else a worse time? Isn’t that a little creepy? Haven’t I stretched that metaphor much further than should be allowed? Yes, on both counts.

One thing fans forget is that just because someone talks to you through the internet or in comics, it doesn’t mean you’re friends. Brian Michael Bendis has a lot of shit to do, and while he answers some questions sometimes, he can’t answer all of the questions all of the time. We started this site as a place where we could talk comics, and encourage a community where people could find other people with similar interests. We’re also in this to entertain, to make the world of comics fun. Sometimes, it’s serious, sure. We make ourselves available online in various ways, and you get to know a lot of our personalities. But, at the end of the day, I’m not your friend. I’m not even a guy you know that well. I don’t say that to be mean, but it’s so important to make that distinction. It doesn’t mean I don’t like you. It doesn’t mean I don’t want to interact, but there are interactions and interactions, if you know what I’m saying. Could we become friends? Sure. I’ve become friends with people from the site. On the other side, I’ve become friends with comics pros whose work I idolized. But that happened because no one was being creepy, and it usually happened because of having things in common other than comics.

When I was about 23, I went to the San Diego Comic-Convention for the first time. When I was 22, I got a Green Lantern tattoo on my right shoulder. It’s just the classic symbol, and it really represents more than just a love of the character, but is also sort of a reminder of a certain part of my life, and I don’t even read the comic book these days. I happened to meet Judd Winick, who had just gotten the gig writing Green Lantern, and on finishing our very short conversation, I said, “Hey man, you better do a good job on Green Lantern,” and lifted my sleeve up to show him the tattoo, in a moment I thought would be kind of funny. Nope. He gave the nervous chuckle, and got the hell away from me. I had been creepy. It wasn’t intentional. But it wasn’t cool. Take that experience, and add it up with every other weird interaction Judd had had over the course of the convention, and I don’t blame him for skittering away from me one bit. I was young and awkward, and this was certainly douchechill worthy, but Judd, who I don’t know in real life, had no way of knowing if I was serious or not, because there are plenty of people who would have been. I had a tattoo for crying out loud, so he’s wondering, if for only a second, if I’m the guy who is going to put his head in a bag. That was before social networking, where we meet people daily who could be the “head in a bag” guy.

I’m not saying don’t be a fan, or don’t interact, or don’t have feelings about these comics. I’m saying you need perspective on how important this stuff really is, and how you want to present yourself to the world. Comics are important to me, and I hope they’re important to you, but keep a foot in the door of the rest of the world at the very least.

The iFanboy Letter Column – 12.02.2011

Hi. I’m Hollywood’s George Clooney.

Friday means many things to many people. For some, Friday is all about hanging out with your best buds Pitt and Damon, trying to figure out whose turn it is to save the world next week. For others, it’s the night you check your calendar and realize that it’s time to trade up to an ever hotter girlfriend. For yet others, it’s a day to take your motorcycle out, pull up to random people on the street, whip off your sunglasses, look them deeply in the eyes and say, “Hi. I’m Hollywood’s George Clooney.”

At iFanboy, Friday means it’s letter column time.

You write. They answer. Very simple.

As always, if you want to have your e-mail read on the any of iFanboy’s shows or answered here, in the letter’s column keep them coming to contact@ifanboy.com


So I’ve looked every where I could think of, maybe I’m just bad at the internet, but I couldn’t find out why DC didn’t ship any of their New 52 titles on 11/30/11. I didn’t even know this was happening, I go to boarding school and there no comic shop here so I get all my stuff digitally or through mail subscriptions, so I was taken aback when I couldn’t find any reviews about DC books. Why would they do this? Is there some kind of marketing reason or just giving their creators time to make all the books?

Matt J.

You know, Matt, you weren’t the only one caught off guard by DC not releasing any of their New 52 books this week. I had no idea it was coming and didn’t know about it until we were preparing the comics page for this week. What I’m saying is that DC didn’t go out of their way to publicize it, so I’m not surprised that people were surprised. On the other hand, DC didn’t hide it, either. A quick check of their website (or the solicitation list put out three months ago) would have made it clear that this is what they were doing.

So the question remains: why?

Justice League #1

I’m just speculating here, but it seems to me that, for the most part, DC is putting a premium on keeping their books on a regular, set schedule. They seem to have a small army of fill-in artists ready to roll on books to keep them from shipping late, and that’s in conjunction with previously announced official fill-in artists to assist those artists who can’t pull of 12 books a year, like with Cliff Chiang on Wonder Woman or Yanick Paquette on Swamp Thing. That’s not to say that some books haven’t already been one or two weeks late or that it won’t happen in the future, it’s comics and these things happen, but it seems clear to me that DC is taking extra steps to make sure their New 52 books come out as close to on-time as possible.

Of course, someone might then say, “why not use the extra fifth week to put the week one books out?” My guess is that they want to stick to the schedule that they set up where certain books lead off the month, certain books end the month. The fifth week then ends up being a breather week where mini-series or special releases come out and get the spotlight.

Or, it could be some mundane trafficking or production reason that, were it explained to us, we’d fall asleep while listening to. No matter what the reason, we’ve got DC books to look forward to next week and in the meantime, I got to enjoy having a week where I spent less than $20 at the comic book store.

Conor Kilpatrick


What do you think about “mainstream” (or wannabe mainstream) artists working obvious copies of comic book panels into their art? The most obvious example is Roy Lichtenstein, but it continues to this day. Does this help elevate the medium? Or does it work against it, perpetuating the notion that comic books are no more subtle or nuanced since the days of Simon and Kirby?

Isaac

I really haven’t thought about it that much, and my knowledge of that side of the art world is limited, but it relates very much to the culture of “sampling” that has developed, and how much of that is art. Recently, I saw our friend and comic book writer, Joe Keatinge address this exact problem, and he did it with much verve and passion. I’d read his Open Letter as a starting point. The Lichtenstein piece in question sold for $43.2 million.

Personally, it simply doesn’t seem right that you can take a bit of art that Jack Kirby did, paste it in place, and rejigger it, then sell it for a lot of money, and the original artist gets nothing. Presumably when an artist samples music, the original songwriter should get part of those proceeds, or somehow be involved in licensing their art.

As for what’s morally right, that’s a different story. Art is subjective and interpretation is valuable, as is reinterpretation. Who’s to say what makes art art, if it makes you feel something. We look at this question all the time in comics themselves. Is incorporating photos in your are the same as drawn comic book art. Kirby himself used a lot of photo collage at certain points in his career. How can Alan Moore complain about people using his work as a starting point when he used the work of others as the starting point for so much of his work? Where is the line between inspiration and copying? It’s somewhere, but it can be hard to define and delineate.

I think this drives the point home though. This is a bit from Joe’s letter, and really sums up where the problem. is, and it is a problem.

To illustrate my point, Heath has been quoted as saying, “[Roy Lichtenstein] did four different ones based on my panels. After he died, they found the cut-up comics with my art in his office. One of those paintings sold for $4 million.” Heath has never seen a dime off the sale of what is no doubt his work, to the point he has needed help from the aforementioned Hero Initiative. More information on Heath’s struggle an be read here.

Now is it Lichtenstein’s fault that Russ Heath doesn’t have enough money to cover his bills? No. But does the situation seem right? No, it doesn’t.

Josh Flanagan


In your recent Pick of the Week Podcast, Ron revealed his favorite X-Era was the Claremont/Smith era aka “Out of the Ashes” (Something along those lines). What are some good collections/graphic novels/etc. to obtain this era and are the eras before and after this segment worth checking out as well?

Donnie from Boston, Massachusetts

Any excuse for me to talk about the X-Men! Thanks Donnie! For those who didn’t hear on the podcast, last episode someone asked what our favorite eras of our favorite comics, and it may come as a surprise to folks that my favorite era of the X-Men is NOT the Chris Claremont & John Byrne era, or even the Claremont & Jim Lee era. No! In fact my favorite era was Claremont & Paul Smith! I referred to that era as From The Ashes, because that’s the name of the main story/trade paperback collection that collects the issues of Claremont/Smith, Uncanny X-Men #168-176. If you’re looking for the example of this era, it’s all right there in those issues.

Why do I enjoy the Paul Smith era of the X-Men so much? Well, nothing against The Dark Phoenix Saga, which is fantastic and the highlight of Claremont & Byrne’s run and a must read for any X-Men fan (As well as a great starting point), but I found From the Ashes to be a far more engaging group of stories. It opens with the classic “Professor Xavier is a Jerk!” panel, includes the addition of Rogue to the team, Wolverine’s tragically aborted marriage, the emergence of punk/mohawk Storm and finally the introduction of Madelyne Pryor who would marry Cyclops and give birth to their son Nathan, who would later become Cable.  While The Dark Phoenix Saga had some great action and was a a great story, From the Ashes was rich with plot developments that would drive the X-Men line for nearly 100 issues after it. In addition, if you don’t see the amazingness in Paul Smith’s artwork, then well, I can’t help you…

So you definitely want to track down the out of print trade for From the Ashes (you can still get copies on Amazon). Before that, you absolutely have to go back to The Dark Phoenix Saga as well as Days of Future Past, which while short, might actually be Byrne’s greatest X-Men accomplishment. After From the Ashes, unfortunately there’s not much more Paul Smith art to enjoy. But as I mentioned, the events of that storyline fueled the future stories such as Mutant Massacre, Fall of the Mutants and Inferno, all fantastic reads.

Ron Richards

 

Top Shelf Goes Graphicly + Paul Tobin & Colleen Coover on Gingerbread Girl

In another boon for digital comics, you can now find Top Shelf comics on Graphicly! Always one of our favorite publishers, we’re glad to see their work now more widely available. To celebrate the launch, Top Shelf have offered some crazy deals on their books this week.

For $8.99, you can pick up the complete Gingerbread Girl graphic novel by husband and wife creative team Paul Tobin and Colleen Coover. It’s a great value for one of the year’s most playful and inventive character studies. There are many ways to reveal character. Through action. Through words. But one of the most telling ways is by exploring her relationships. Here, Annah Billips is revealed to us through the people in her life. And maybe a pigeon or two.

Gingerbread Girl

There are many verifiable facts concerning 26-year-old Annah Billips. She likes sushi and mountains and piglets, but hates paper cuts and beer breath. She flirts with girls and boys, and loves to travel. She might have a missing sister… or she might be totally insane. Did Annah invent an imaginary sister named Ginger during her parents’ traumatic divorce? Or did her mad scientist father extract part of her brain and transform it into a living twin? In this whimsical, thought-provoking graphic novel, a host of narrators (including boyfriends, girlfriends, neighbors, bystanders, magicians, and passing animals) try their best to unlock the mystery of Annah… and the Gingerbread Girl.

We talked to Tobin and Coover about digital comics and why Gingerbread Girl first started in a digital format.

iFanboy:   Has the advent of digital publishing changed the way you look at comic storytelling or your approach to designing a page?

Paul Tobin:   It really hasn’t YET changed the way that I approach a page, but I know that it’s going to. The tool set of digital comics has been changing at such a rate that it’s hard to know what’s in the tool box, so that every sort of experimentation is outdated almost before it exists. I know that eventually I’m going to want to be able to expand the moments of the panels… delve into some aspect of interactivity. At the same time, it’s a delicate line. One of the real glories of comics is that comics are ALREADY interactive: a reader will naturally “fill in” the moments between panels, gearing the story according to his or her own preferences and biases, and I think we, as creators, need to be careful not to step on those toes.

Colleen Coover: I like the fact that digital distribution allows creators to make comics of whatever length they want, and release them to the entire world, immediately. For example, if you have a story that’s only seven pages long, you can go ahead and make it seven pages without having to worry whether or not you’ll ever find an anthology to publish it in. Or a two-page story. Or a longer story that you want to do in serialized installments. You can create stories of any genre you like. You can change genres from story to story. You can do whatever you want.

iF:   Many readers of Gingerbread Girl first experienced that book digitally on the Top Shelf website before the print edition became available. Pages were released on a staggered schedule similar to new installments from a webcomic. Can you talk a bit about the decision to promote the book this way? Is it an approach that could benefit other books?

PT:   I was just on a panel the other day with Katie Cook, a fellow creator whose artwork I adore, and she was talking about how she really doesn’t make any money off her webcomics… BUT… when it came time to collect all her webcomics into a tangible book, she had something like 1000 preorders, instantly making the book viable. THAT’S what’s so amazing about the internet: every single installment of Gingerbread Girl that we put online was an advertisement for the work itself. And I do think there are other books that can benefit from the process. I think the more story-oriented, the better. There’s little reason to buy a portfolio, for instance, if every page of it is available online.

CC: And because Gingerbread Girl doesn’t really fit into any particular genre, it’s a big ask for people to take the risk on picking up the physical book, sight unseen. By giving them the option of checking it out in advance, they could say, “Yes, I want this.”

iF:   Much has been said with regard to the opportunity for experimentation afforded by digital publishing, from alternative layouts to imbedded video and animation. Do you see yourselves drawn to this kind of experimentation or dedicated to traditional comic formats and methods?

PT:   A little of both. It entirely depends on the story in front of me. An action story could really explode off the page with additions of animations, and horror stories can become creepier, and so on. Again, though… I think we have to be wary of putting too many computer bells & whistles on a comic book page. We need to add to the art form while still preserving the art form. It’ll be an interesting dance.

CC: I’m very excited by the possibilities in storytelling. Like Paul said, it would be easy to go over the top, but I think there will be some very clever people making great comics that will surprise us. I’d like to do some of that myself, when I get the chance to really sit down and think about how I’d go about it.

 

 

 

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