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Sweet Talkin' Guy
If you haven’t seen it yet, new Image partner Robert Kirkman did a video editorial on the benefits of creator-owned comics for CBR. Well worth checking out, if you’re interested in peaking behind the curtain and learning what goes on in the mind of one of Image’s most popular creators.
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KEEP ON PUSHING
You know what I love about Mike Allred? He’s always trying something new, always looking for a new approach to the page, a different way to explore the myriad possibilities our medium has to offer. If you’ve been reading MADMAN ATOMIC COMICS, you already know this about Mike, because just about every issue is a foray into the artistic unknown. In case you haven’t been following the book lately, though, Newsarama.com is featuring MAC #9 online in its entirety. Well, almost – none of the word balloons are included, so it you actually want to read it, you’ll need to pick up a copy. It’s worth checking out, though, because what Mike did this issue was pretty unique: The entire issue, from beginning to end, is one, long panel, and viewing it online is practically the only to view Mike’s experiment as it was intended.
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Tomorrow
Preview Night notwithstanding, Comic-Con International 2008 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 COMIC BOOK TATTOO on Saturday, right?
In the right here, right now department, though, Mark Millar and Tony Harris’ WAR HEROES #1 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 Newsarama.com. The aforementioned COMIC BOOK TATTOO is out today, as well, along with the four-long-years-in-the-making AMERICAN FLAGG! hardcover that you probably thought you’d never actually see in your lifetime. Rob Schrab’s SCUD is collected in all its magnum opus-y glory, too, and you’ll probably want to check out INVINCIBLE #51 as well. And Dan Brereton’s new NOCTURNALS one-shot. And the first collection of Mike Allred’s work at Image, MADMAN ATOMIC COMICS, VOL. 1. And the new issue of YOUNGBLOOD.
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 COMIC BOOK TATTOO (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 that 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 COMIC BOOK TATTOO 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 COMIC BOOK TATTOO – 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 COMIC BOOK TATTOO, check out www.toriamos.com. And if you need more info on Comic-Con, head on over to www.comic-con.org!
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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 YOUNGBLOOD writer Joe Casey about the status of Rob Liefeld's superteam going into the second half of 2008.
Eric Stephenson: YOUNGBLOOD #4 is out next week. This wraps up the first story arc, right?
Joe Casey: 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.
ES: Where do things go from there?
JC: 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 SUPREME 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.
ES: You've done quite a bit of mixing and matching with Rob Liefeld's original Youngblood and characters introduced by Alan Moore in SUPREME and his all-too-brief run on YOUNGBLOOD. Are there other characters you'll be returning to action as this story continues to unfold?
JC: Definitely. There's so many great characters that he created for Rob's universe that are just sitting there! It'd be stupid not to dig in and use them.
ES: So, what drew you to YOUNGBLOOD in the first place? Were you a fan of the original series?
JC: What I've always responded to is Rob's passion for the characters and the concept. YOUNGBLOOD 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 YOUNGBLOOD 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.
ES: Derec Donovan's artwork is pretty different from Rob's. How'd you hook with him for YOUNGBLOOD?
JC: 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 YB 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.
ES: YOUNGBLOOD’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?
JC: 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...
ES: Ah, that’s right. We're running one of your very first comics stories in the trade, aren’t we?
JC: Well, back in the day it was one of my first professional sales as a writer (if not the first). A story featuring two YB characters that, if I recall, was intended to end up in the YOUNGBLOOD STRIKEFILE 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.
ES: I think I was taking point on that whole “wait for the trade” thing, just from the editorial side of things.
JC: I'm sure it was a blessing in disguise. Everything seemed to work out okay and here we are, talking about a new YOUNGBLOOD series that I launched. Funny how things turn out.
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Kids with Guns
A few days ago, we announced that THE WALKING DEAD #50 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.
Eric Stephenson: Now that I've got your old gig, the plan is for you to get back to SAVAGE DRAGON, right?
Erik Larsen: 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 SAVAGE DRAGON on a more regular basis.
ES: And by “regular,” you mean monthly, right?
EL: 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.
ES: Okay, then – for anyone who may have lost track of the book over the last several issues, what's been going on with Dragon?
EL: 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.
ES: Issue #136 just came out and that featured Dragon in Seattle fighting Prism. Prism's actually another character from your childhood, right?
EL: Not so much mine as Al Harris's. Al and I did a fanzine called GRAPHIC FANTASY 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.
ES: And where does Dragon go from Seattle? Who else is going to pop up in the book?
EL: 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 GØDLAND’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.
ES: At one point, I know you wanted to put together a kind of Image super-team. Is that still something you're interested in?
EL: 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.
ES: Very cool! You've also mentioned a few times recently that you're working on some other projects aside from SAVAGE DRAGON. Are those things still in the works?
EL: Once SAVAGE DRAGON 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, SAVAGE DRAGON 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 best 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 THE WALKING DEAD, for instance, and the recent XXXOMBIES 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 you 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 then 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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