You are currently browsing the tag archive for the ‘graphic novels’ tag.

Interesting article from on piracy (both of books and music):


Talk to anyone fairly high up in the publishing world and chances are they will tell you piracy is killing the business and driving down revenue. But you have to ask what evidence they have for such statements? Downloads do not directly correlate to lost sales and may actually increase them if this example gets repeated.

Artist Steve Lieber probably agreed with the publishing industry a few days ago, but now he sings a different tune. The Underground graphic novel he illustrated for Image Comics was scanned and uploaded to 4chan in its entirety a few days ago. Rather than getting upset Steve joined in the conversation about his comic and offered to answer questions about it. Here’s the important part of the post he made on the 4chan thread:

As for putting all the pages up here. What can I say? I get that this is how things go, and I’m trying to live in the same decade as everyone else. If nothing else, I’m flattered someone thought enough of the book to take the time to scan and post it.

Anyway, that’s that. If anyone has any questions about the book, post them here or ask me on twitter @steve_lieber

Steve describes the discussion that followed as “genuinely fascinating” but what he didn’t expect was the bump it gave to the sales of the novel. Here’s the image he posted showing exactly how engaging with the 4chan community can have a positive impact on your sales and therefore your income.



Brian M


Stumble It!

Article by George Gene Gustines for the NY Times. Nice to see the medium of Graphic Novels being expanded with this type of story.Enjoy!


The graphic novel “American Widow,” written by Alissa Torres and illustrated by Sungyoon Choi, is a memoir about the author; her husband, Luis Eduardo Torres; and his death on Sept. 11, 2001. That day is fraught with so many emotional and political landmines for countless people that a critic might hesitate to review such an account, especially if the work is less than stellar. Fortunately, “American Widow” is very good — largely because of the author’s willingness to address difficult issues, including her anger at her husband and her frustration in dealing with relief agencies that at times alternated between being overeager and counterproductive.

‘American Widow,’ by Alissa Torres: A Grief Observed (September 7, 2008) “American Widow” starts quietly, but the mood is deceptive. “September 11, 2001” is printed under the first chapter heading, and the next page is just a field of sea-foam blue, evoking the good weather that began that terrifying, profoundly momentous day. The third page shows two birds gently flying in that tranquil sky. Then disaster: a television set blares, “Turn on your TV!” in multiple languages. The image on the set shows the twin towers billowing with smoke as the news of the World Trade Center’s being hit by a plane is reported.

The next sequence illustrates the power of the graphic-novel format. Four pages shift locales and move forward in time, panel by panel, from Ms. Torres, watching the news alone in her bedroom with a hand on her pregnant belly; to President Bush, reading to elementary school children in Sarasota, Fla.; to reactions around the world as people were glued to their televisions or watched the events from their window.

The fourth page hints at difficulties to come. Three people — a taxi driver, a cook and a man at home with three children — all hear “You’re under arrest” as the process of finding those responsible for the attacks begins.

That’s a tale, however, for another book. Instead Ms. Torres shares, in flashbacks, the story of the life of her husband, known as Eddie. We see his journey to the United States from Colombia, his struggles to find work and his arrival at Cantor Fitzgerald, where he began a job on Sept. 10, 2001. Those scenes are interwoven with Ms. Torres’s new life as a 9/11 widow, first waiting to learn of Eddie’s fate and then having to cope with the bureaucracies offering aid earmarked for the victims’ families.

The account of the couple’s courtship is brief, mercifully so, because the details of their domestic relationship are more compelling. In 12 pages the Torreses go from meeting in August 1998 to marrying and moving to Queens to conceiving a child in early 2001. In August of that year, Eddie loses a job, and an image wonderfully captures the anxiety Ms. Torres feels. “How will we pay our bills?” she wonders, as the panel borders overflow with papers indicating their mounting debt.

A scene in the predawn of Sept. 11 shows the couple in bed. He is exhausted and sleeping soundly; she is staring at the clock, still fuming after a fight they had hours before. In the morning, still angry, she daydreams. “Maybe I should leave him … go to Hawaii and start again,” she thinks as she walks down the street, her head filled with visions of a lush luau, a well-built surfer and a romantic sunset. She comes home, upset that there is no message of apology, only to receive a phone call with more terrible news.

In this scene and throughout the book, which is black and white with bursts of sea-foam blue and the occasional red and blue, Ms. Choi’s illustrations are sharply observed. She does a great job of distinguishing a large cast of characters and settings. She’s also called upon to draw images of the towers as they fell and the aftermath at the site. One of the most evocative drawings is a full page that shows the void in the wake of the collapse.

The day after Sept. 11 — which Ms. Torres spends primarily hoping Eddie will come home to her — she begins a quest for information about him: is he still alive? If there was anything good in that time, it was “those magical days when all lines parted for me,” she recalls. Being seven months pregnant with a missing husband earns her extra sympathy from relief agencies.

But that initial warmth slowly turns into frustration as the days elapse. Page 50, which shows an unidentified burn victim she visits — just in case it is Eddie — captures the mounting tension. The reactions from those who want to assist range from simply stating, “What can I do?” to shouting “I want to help!” to hysterically screeching, “Please, what can I do to help?”

‘American Widow,’ by Alissa Torres: A Grief Observed (September 7, 2008) It seems as if for every cranky volunteer she meets, there is a good Samaritan who assists her. But it’s the bad experiences that linger. When Ms. Torres goes to the Red Cross for financial aid in bringing her husband’s family to New York for his funeral, the red tape is almost more than she can bear.

“I can’t stand looking at her,” she thinks of the administrator processing her request. “Why is she so mean?” Ultimately, the organization will cover the expenses, but not tell her precisely when — despite the fact that the funeral is that weekend. “That’s our policy,” the administrator says. “Be thankful that we’re at least offering you this assistance.”

Ms. Torres also recounts her struggle to receive benefits from Cantor Fitzgerald. Her relationship with the company begins positively on Sept. 11 when she speaks to its chief executive, Howard W. Lutnick, but weeks later she is still at sea, trying to prove that Eddie was employed by the company. It’s not until Oct. 24 — when she says, “Look, if we can’t straighten this thing out today, I’ll talk to the press” — that the wheels start spinning in her favor.

As the first anniversary of the attack draws close, Ms. Torres is filled with dread. “New York was our home,” she thinks, “but I just can’t be here this week.” Who can blame her when banners reading “Just 21 More Days” seem more appropriate for a countdown of the shopping days before Christmas?

She is also still filled with anger. “You told me, ‘I want to turn 90 beside you,’ but you didn’t,” she thinks. “I am still so mad at you.”

On Sept. 11, 2002, Ms. Torres is in Hawaii with their son. In four panels, a page shows her writing a note in her hotel room; staring at the moon with arms crossed; a close-up of the note (“Dearest, sorry we fought about nothing”); and a boat setting off to sea. The view slowly pans out until the book’s final sea-foam-blue page, this time evoking a more peaceful day.





Brian M Logan

Bookmark and Share

Great article on graphic novels by Rebecca Wintes Keegan.



Superman Leaped 40 years’ worth of tall buildings on the printed page before he landed his first feature film, in 1978. In 2003, Wesley Gibson, the cubicle-dwelling assassin in Mark Millar’s nihilist graphic novel Wanted, had producers circling before his first issue even went to print. Millar’s work is unlikely source material for a big-budget movie; one of his obscenely named villains is made of fecal matter from 666 evildoers, including Adolf Hitler and Jeffrey Dahmer. Nevertheless, Wanted is now a glossy summer action movie starring James McAvoy, Angelina Jolie and Morgan Freeman, directed by new-to-big-studio-movies Russian Timur Bekmambetov.

Graphic novels–long comic books for grownups–have always had mostly cult appeal. Last year’s most successful, the 13th volume in a Japanese manga adventure series–Naruto, by Masashi Kishimoto–sold 80,000 copies, far short of 2007’s hottest novel, A Thousand Splendid Suns, by Khaled Hosseini, which sold more than 1.5 million copies. The point of the comics was largely their transgressiveness. “They’re the last pirate medium,” says Millar, a Scottish writer who consults for Marvel Comics on more mainstream fare, like Iron Man. “They’re the last medium for a mass audience where you can do anything you want.”

But the creations of oddball loners like Millar scribbling at drafting tables have also become the movie industry’s most reliable development tool. Thanks to the box-office success of A-list superheroes like Spider-Man and the X-Men, Hollywood’s appetite for comics-fueled material is insatiable. Titles from the darker corners of the genre, including gritty graphic novels like Wanted and Alan Moore’s watershed deconstructivist superhero tome Watchmen are getting the big-screen makeover. Stories and characters first written for an audience of a few hundred thousand geeks at most are reaching, at the box office and on DVD and cable, popcorn-chomping crowds that number in the tens of millions. “The dalliance between Hollywood and comics is becoming a marriage,” says Frank Miller, creator of the graphic novels Sin City and 300. “The downside is in the heads of people who make comic books. Everybody wants money and fame.”

Times weren’t always so flush in Toontown. In 1997, “George Clooney killed comic-book movies,” says Millar. Joel Schumacher’s joyless Batman & Robin, in which Clooney legendarily donned a bat suit complete with rubber nipples, left fans feeling abused. Studios turned their attention to fantasy literature like Harry Potter and The Lord of the Rings. But when Spider-Man bested two wizard movies and a Star Wars prequel in 2002 and X-2: X-Men United broke $200 million at the box office in 2003, hand-drawn heroes swung back into favor. The joke in Hollywood now is that in a risk-averse era, comic-book adaptations have a distinct advantage: the drawings mean studio execs can see beforehand what the movie will look like.

At first, it was the family-friendly superheroes who made the leap to multiplexes, with the help of directors like Bryan Singer and Chris Nolan. Slowly, lesser-known comic books got a shot. Some, like Sin City and Hellboy, became modest box-office successes by adhering to the distinctive spirit of their creators. Others, like Road to Perdition and A History of Violence, attracted audiences with sophisticated stories that few people knew were derived from graphic novels.

Then came the spear that pierced the industries of comics, movies and ab videos: 300. “I was pretty sure we were making a boutique movie,” says director Zack Snyder of his R-rated, blood-spattered retelling of the Battle of Thermopylae. With no stars and a lot of leather bikini bottoms, 300 grossed more than $200 million in the U.S. alone. “The movie struck a chord because it was unapologetic,” says Snyder, who is directing Watchmen for release next March. “It’s difficult to find a movie that feels true to itself. You feel the hand of Hollywood, the moviemaking by committee, on everything.”

In the case of 300, the hand audiences felt was really Miller’s, since whenever Snyder made a creative decision, he asked himself, What would Frank do? Comic-book-movie directors like Snyder, who see themselves as stewards of another person’s vision rather than architects of their own, have made comic-book creators Hollywood’s latest big-budget auteurs. Because they work with such low overhead compared with moviemakers, comic writers and artists can take many more creative chances than directors. “You don’t have endless development meetings that turn your brain into milk,” says Miller. “You get to at least see what an individual has to offer.” After co-directing Sin City with Robert Rodriguez in 2005, Miller is completing his comics-to-movies arc by directing The Spirit, an adaptation of a 1940s crime-fighting strip, for a December release.

The other axiom 300 proved to Hollywood is one the comics industry has known for decades: “The audience for comic-book movies is overweight guys in their mid-30s,” says director, comic-book-store owner and overweight guy in his late 30s Kevin Smith. Actually, the average age of a comic-book buyer is 23, but Smith’s point–that there are fans aplenty to support R-rated comics franchises–has been digested. Even PG-13 comic-book movies are maturing. Batman keeps getting darker scripts, like Nolan’s The Dark Knight, starring Christian Bale and Heath Ledger (in his haunting last performance, as the Joker). Marvel Studios’ first two movies, Iron Man and The Incredible Hulk, star Robert Downey Jr. and Ed Norton, Oscar-nominated actors with indie credibility. And Hellboy, who is back this summer for a sequel, is hardly your standard man in tights. He smokes cigars, drinks Red Bull and collects kittens. “Kids aren’t kids anymore,” says Hellboy creator Mike Mignola. “They’re so exposed to everything. They wouldn’t accept really simplistic superheroes.” It’s likely that a superhero movie like Watchmen or The Dark Knight couldn’t be appreciated by audiences without the simpler fare that came before it. You can’t deconstruct the superhero until someone has constructed him, rubber nipples and all. “Watchmen is thick and complicated and violent and political and critical of America,” Snyder says. “It’s huge.”

Watchmen, easily next year’s most anticipated comic-book movie, is based on a graphic novel that’s more than 20 years old. What Hollywood would really like is the next big thing. If studio execs can’t find one they like by thumbing through publishers’ catalogs, they’ll create it themselves. In May, Disney announced that Ahmet Zappa, son of Frank, will head up its new Kingdom Comics, a publisher with the express purpose of developing graphic-novel film projects for the studio. This month TokyoPop, a Los Angeles-based manga publisher, announced the creation of a comics-to-films unit. Though it may be good news for any comic-book writer with a mortgage to pay, all those carnivorous studios make some comic-book fans nervous. “As soon as you start reverse-engineering the process, it’s broken,” says Snyder. Miller, who now needs bodyguards at comic-book conventions, cautions his industry against embracing fast nickels at the expense of good products. “You can’t make a sword with more than one blade,” he says. “Comic book, movie and game. It’s bound to be bad at all three.”

Millar, meanwhile, is giddily anticipating the opening of Wanted on June 27, even though the poopy bad guy didn’t make the final cut. (Imagine the missed merchandising opportunities!) Millar views the graphic-novel-to-movies trend as being likely to stoke creativity, not stifle it. “Hollywood eats up ideas quickly, but comics come up with 300 new ideas a month,” he says.

His next comic is about a 100-year U.S. war in the Middle East, with superpowered soldiers and flying Islamic fundamentalists. It’s the kind of idea that would get squashed at a studio meeting, where the poor performance of all the Iraq-war movies would be trotted out. But then, Millar doesn’t need anyone’s green light. He just needs an artist and a pen.

Four Famous Comics Junkies on graphic novels they’d like to see on film [This article contains a table. Please see hardcopy of magazine.]

WHO Frank Miller, creator of Sin City and 300 Mark Millar, creator of Wanted Kevin Smith, director and comic-book-store owner Mike Richardson, founder of Dark Horse Comics WHAT Bone By Jeff Smith The Walking Dead By Robert Kirkman The Dark Knight Returns By Frank Miller Concrete By Paul Chadwick WHY The “fully realized adventure fantasy” is “Disney meets Moby Dick.” “A chronicle of life after zombies have taken over. It should be an HBO series.” “An intense, quasifuturistic, retired Batman with real-world issues.” “A speechwriter is encased in concrete. Kafka meets Beauty and the Beast.”


Brian M Logan