Comic Book Journal

I’m still believing in this series. X-Files #4, finishes up an arc involving Wilson Chan, a businessman, with some dark links to his heritage and a covert dynasty still in operation. For a past issue review see my post at http://www.comicbookjournal.net/i-want-to-believe/. This series has serious potential to be one of the biggest sleeper hits of 2009. I’m not just saying this as an X-Files fan, but also as a comic book fan, and someone who has a taste for great fiction. The team of Wolfman and Denham are hot. Marv Wolfman’s plot connected all the dots on this issue as his characterizations are true to the series and he ties up all loose ends in the mystery as well, without relying on a deux-ex-machina to just end the plot without making any explanations. Denham’s pencils are fantastic and he, unlike, some previous artists on the Topps series from a few years back, actual draws the likeness of both Scully and Mulder extremely well. It is clear he takes his time with the pencils and adds his own twist using different “camera” angles to make his storytelling dynamic and dramatic. Wildstorm has a hit in the making with this series, which really has limitless possibilities in dealing with a television universe, that was practically limitless as well. Now, this series will not appeal to fans of the traditional superhero book. There are no flashy costumes, no over-the-top evil-doers, or even any mention of saving the world. I’d recommend this for any Dark Horse or Vertigo fan. Since it won’t appeal to everyone, I’d have to give this book a nine out of ten, the only flaw really, is some readers who have never viewed the series or like this type of story might feel a little out of the loop.

The truth is out there, or should I say at Wildstorm. I was highly anticipating the release of the X-Files #1 from Wildstorm, as I was a HUGE fan of the show and also a monthly reader of the Topps series a few years back. So how do you compare oranges to oranges? Why their taste of course. See, the Topps series, despite its honest attempts to match the atmosphere of the show, always seemed to fall flat, with the art being at times goofy and the writing to seem forced. The Wildstorm series is quite the opposite. From opening “credits” to ending cliffhanger Spotnitz’s writing is dead on, as it should be since he worked on the series. The art is equally matched, though. This was a pleasant surprise. From the deadpan expressions of Mulder, to the annoyed looks from Skinner, and even the dead on accuracy of the Lone Gunmen (see below), it was a joy to read. I want to believe in this series. And this is a good start for anyone, whether a fan of the show or not. This could possibly be the title that launches Wildstorm back into the limelight of the comics world and also back into the top sellers list. I’m anxious to see how this one fares. One my scale I’d give this one a solid 9 of 10. This one’s a buy. Also if you want to see the trailer for the newly-released movie sequel, hop on over to http://www.popculturebuzz.com/the-x-files-i-want-to-believe-movie-trailer-is-awesome/

I haven’t read an issue of Gen 13 since I picked up an annual more than a few years back, so I thought it would be fun to revisit the Gen kids. The reason I quit reading the title, other than tired plotting, was the artwork always detracted from these lovable characters. I’m afraid to say that not much has changed since I stopped reading the title. I was refreshed to find that the original cast is still around with Fairchild, Burnout, Grunge and the rest of the gang still causing mischief.

This issue centered on another mind game. As the kids discover (again) that one of their own is a plant by I.O. Sadly, they discovered the same in the original series with John Lynch, their founder/caretaker. So why are we revisiting this same plot line. To save the others, Fairchild must survive a machine that makes her relive her most painful memories visually and will electrocute her if she gets too angry. While an intriguing concept, which could have played nicely into another back story or perhaps even story arc it ended to lead to another storyline to find out who the traitor in the midst is.

Gen 13 has always been New Mutants meets Big Brother, and at first, under the helm of J. Scott Campbell and Jim Lee it was refreshing, and could have been the X-Men for a new generation. Sadly this title reeks of wasted potential. The artwork is too heavy handed, and I don’t know if it’s a style thing for Oliver, but I could not find one panel where a character’s nose was not over-exaggerated or their eyes not crossed slightly. It was clearly amateurish. I had high hopes for this issue but I was ultimately disappointed.

I would have to give this book a five out of ten. The plotting, with a new storyline could be great, however it fails to meet its potential. The same could be said for the artwork. I would recommend this only for the avid collector who must get EVERY single issue of a particular title.

For the best book for 2008 so far, see my post on Battlestar at
http://www.comicbookjournal.net/battlestar-is-pure-dynamite/.

Have I gone crazy with the reviews? Yes, yes I have. I’m trying to review every issue in February, for more info on the madness, see my blog at http://www.comicbook journal.net/the-pop-culture-superhero-collison/. I took a looking over in the Wildstorm direction and read Authority: Prime #4. What I discovered as a comics fan was appalling. This title is still stuck in the mid to late nineties, Wildcats era. The plot, with one team, basically fighting their evil clones to the death was tired. The characters were from what I saw, unoriginal, looking like X-Men knock-offs. And the art was well, grossly undefined and devoid of any excitement or intensity whatsoever. I have to say that with the name the Authority I expected far more. Shame on you Wildstorm editors for letting a promising title that flourished under the helm of Warren Ellis, flounder in the hands of for lack of a better words, an amateur creative team. What is this issue missing? Just about everything. There are no exciting plot twists, no moments of interest, there is nothing there to make me, as a critic first and fan last, want to pick up the next issue. Hopefully this issue was the end of a mini-series, a number four of four or something. The best thing Wildstorm can hope for with this book is the printing costs didn’t outweigh the sales. I can barely give this title a three out of ten. Small press does it better in this case. This is what February is all about though, reviewing the good, bad, and the boring. There’s still more to come. We’re still in the A’s.

Ok. I’m not really a huge fan of fantasy stories, though I do enjoy sci-fi and horror. Maybe that changed my interpretation of this book. I had a mini preview of this book previously when I wrote about my views of turning a massive mulitplayer online roleplaying game into a comic at http://www.comicbookjournal.net/better-than-a-superfriend-on-your-chest/.
Now that the book has been released I’d thought I’d give World of Warcraft #1 a shot. The story opens with a human fighting a giant alligator amidst a crowd of orcs. The orcs take the human captive, then enslave him with a group of wolves, beasts, and elves. He must fight under captivity to ensure his life. What’s the catch? The human, who remains nameless throughout the entire issue, has amnesia and claims the ragtag group of warriors under his protection. That’s how the first book ends. For me, the books falls far short of “interactive.” Walter Simonson, who I know has a great command of the comic book medium, does the best with the material he has been given. Granted this is a premier issue, but it did seem to lack characterization, and honestly, I didn’t care whether the human made it out of the arena alive or not. The art is *sigh* manga influenced. Perhaps I would have liked the issue better if it were traditional artwork instead, who’s to say. Lullabi’s lack of backgrounds, thick cartoonish renderings, and overdone character expressions do nothing more than distract from the story and situation at hand. There is no sense of atmosphere or urgency for me (the reader) to identify with. While the colors are lush and it does have sense of motion throughout the panels, there’s not more underneath the flair to sink my teeth into. On a scale of one to ten, I’d have to give this book a four. It might have potential for some audiences, but at a price tag of right at three dollars, I don’t think I’ll pick up the next issue, not even it there is another Jim Lee cover.

I was going through the latest Previews and found something that would make a great Christmas gift. (Hey it gets earlier every year.) In terms of design Graffiti has really outdone themselves with this extremely well-designed Batman shirt. It’s quite different than any Batman design I’ve ever seen on a tee shirt. Take a look:
In other news, the World of Warcraft comic book is set to be sold November 14, and with it’s release, I’ve done some pondering. I’m not much for online gaming, though I do dig some video games. With that said, maybe I missed the point of massive multiplayer online games, but isn’t the point that you create your own guilds and storylines? Being immersed in storyline and character interaction is what drives mmorpgs so why take that creative power from the audience by having a licensed comic book? I guess the folks at Blizzard decided that partnering with DC and Wildstorm would make for a good crossover and a lot more cash, that’s my view anyway. I long for the day when someone invents an online rpg that is graphically beautiful, extremely easy to play, immersive, and free. That’s the only way you’d catch me in another realm. Anyway, at least Jim Lee’s cover is nothing less than beautiful. Of course if you have questions or comments on my humble blog just let me know.

Just what’s in your library?

For the past three to four years, my own library has developed an ever-expanded graphic novels section.

Over the next couple of days, I’m going to be studying just how the library setting has impacted the comic book industry.

Consider this first part just a survey - a brief outline of the state of graphic novels in my local library - as well as anyone who cares to answer.

But not all libraries are created equal, so understanding just what kind of library helps us visualize where the graphic novel section fits in here.

Here’s my round of questions:

1) Is there a specific place for graphic novels in the library?

Yes - it’s actually located in the section of the non-fiction half of the library, around all the various superhero encyclopedias and comic collector books. There’s a sign on this column that reads “graphic novels” and shows a manga girl reading a book.

2) Just what kind of library is it?

Its a small town local library. Its very nice for a small town library - two floors, not including a basement/meeting area, as well as internet access and inter-library loan connections to other regional collections.

3) How would you rate the library itself?

8 out of 10. It doesn’t have the biggest CD collection, but the staff is helpful and the library is generally well-kept.

4) How would you rate the graphic novel section, if there is one?

Also 8 out of 10. It started out small, but its grown by at least several new titles per year. It can be pretty messy - don’t evn touch the Star Wars books, as kids have gone through them so much they verge on the brink of disintergration. But when you’ve worked children sections in a library like me, you learn to accept some rugrat messes here and there; on the plus side, some of the stacks are probably unreachable for kids at least until they hit middle-to-late middle school.

Well, those are my answers. What’s your take? Are graphic novels a rising force in the stacks or is mine just the exception to a very dull rule?

I, or rather, my schedule, still isn’t up to 100 percent, so I had something a little different in mind for these week’s list - mixing some much needed research with the feature today.

Maybe you are a writer. Maybe you are an artist. Maybe you are both - in which case I’m very jealous. Here’s the hypothetical - you have a finished project, and you want to get it out to a major comic book publishers. Unfortunately, never mind the many, many, many hardships it took to get that project on paper - the journey to publication hasn’t even begun yet. Don’t get me wrong - submitting can be a both uplifting and humiliating process - but if you’re a first-timmer, please leave all your well-founded dreams of doing Daredevil or Detective Comics on the first try behind - comic book submissions aren’t quite that easy, as seen below.

10) DC Comics: The comic book juggernaut provides a Talent Search for sharp-eyed artists. If you are not of the artistic inclination, however, you’ll find absolutely nothing here for the writers. The website bluntly states the process is only able to review artists, not writers. Keep in mind these policies are in place for their acquisitions, including DC’s Vertigo and Wildstorm.

BOTTOM LINE: “At this time, DC Comics does not accept unsolicited artwork or writing submissions.” The unsolicited part does bring up the option of perhaps finding an agent to represent you, but please be wary. The comic book industry is plagued with scams and fradulent agents. Always ask agents of previous works. The best way to find agents is to read the acknowledgements section of the books you read, be it fantasy, graphic novels or just plain fiction. Though this process does add a whole new layer to the submission process, you might find a bold ally in getting published with the big boys.

9) Aspen MLT: Michael Turner’s company has seriously the best looking comics out there. Not only does he have a talent for drawing beautiful women - a linchpin in the comic biz - but he also draws everything else beautiful in my opinion. To slip into Aspen would be a comic book geek’s dream, as well as a huge asset on a professional resume - even if the invitation is only open to artist
.

BOTTOM LINE: While we writers have to sulk about in the corner once again, it’s a huge opportunities for artists regardless. The submissions page - at the bottom of company info - breaks guidelines down for pencillers, inkers and colorists. The instructions tell you exactly what they are looking. If you are artistically-inclined, this is a breakthrough position.

Marvel: The company does offer avenues for both writers and artists. It requires no more than 5 pages of sample artwork or an inquiry letters from writers. Keep in mind, however, you probably won’t get that winning pitch published here - at least not at first. If you do land a job here, as writer or artist, it will be on one of their pre-existing titles, which, let’s be honest, is a helluva breakthrough. But since the company doesn’t read unsoliticed writing materals, you might consider taking that dream project you’ve been penning for years somewhere else.

BOTTOM LINE: If you do send them either artwork and inquiry, read the directions. The instructions call for a self-addressed stamped envelope as well as a completed Marvel Idea Submission Form. This is standard procedure - so get used to it - to stop lawsuits from people who “claimed” to have written some idea they submitted to Marvel. I error on the side of Matt Albie from Studio 60 - if they would have written it, they would have written it. But if you don’t trust the people you’re sending it to - don’t send it to them, simple as that.

7)Dynamite Entertainment: I picked up their Battlestar Galactica/Lone Ranger flip book on Free Comic Book Day and I was deeply impressed. Plus, they also write “Army of Darkness” and “Red Sonja” - two of the hottest titles in the biz right now. For their part, they request an inquiry letter from writers (as well as samples from colorists, pencillers and painters), which is pretty much the same as Marvel’s submission process above, with one added bonus - they may request proposals after hiring. This is a major bonus over Marvel - you can not only get your foot in the door, but you can also get your dream project possibly published as well.

BOTTOM LINE: Given the number of steller licenses this company owns, it will need to prove its caliber in originals sooner or later. This creates a demand, and its a demand YOU, the creator, should certainly take advantage of.

6) Dimestore Productions - This company might not have much in the way of razzle and dazzle as the other companies listed above, but Dimestore offers creators a yearly contest known as Small Press Idol. The contest has competitors vying for a chance to publish a mini-series with the imprint after several rounds on public voting. Not only isn’t is it downright fun to see what other creative teams are doing, but it also offers a much-needed forum for feedback to creators. The judges all provide great critque of each Round - be it premise and cover art, character designs, sequentials or the ultimate Issue #0 sell-off. I don’t care what anyone says; that Simon Cowell has nothing on Roger Foucault!

BOTTOM LINE: There’s only so much your family and friends can tell you about your work. While Dimestore might not have the vast resources of other publisher, it does offer a way to refine your work over and over again, even if you don’t win the big prize. In addition, the company offers many other publishing opportunities year-long!

5) Image - The company revolutionized the comic book industry - showing a little guy (albiet comprised of the best of the best) could withstand direct competition with the big two. But that was the 90’s, and Image has fallen into uncertain times. Though core titles like Savage Dragon and Spawn still run strong, much of their original universe has been fractured, and the company is certainly looking for new creators to pick up the pace. BUT make sure you read the fine print before you submit. There’s a reason the submission guidelines read “WE DON’T PAY PAGE RATES.” This means they are not the ones paying you - like an agent, they take a flat fee from the sales, but unlike an agent, it is possible for the creators to endure losses just as well as profits.

BOTTOM LINE: Don’t let this deter you from submitting to Image - it’s a huge opportunity. But conceptualize a marketing plan before you submit. Don’t just assume “It’s their job to sell this” - because its also your job if you want to make any money - especially with some responsibility for losses. Another comic company I explored - Too Hip Gotta Go Comics - runs by a similar system and explains it better than I ever could. Consider them in the same vein as Image - there are advantages and disadvantages to each company. Give both a good thought if you chose this route.

4) Antarctic Press - This company’s Free Comic Book Offering was called Pirates vs. Ninjas. Did you hear me? Pirates and Ninjas! Brilliant! That’s not all that’s brillant about this company. Though best known for more manga/anime style ventures such as “Gold Digger” and “Ninja High School”, the submissions page of this comic publisher contains a State of the Industry address at the bottom which YOU MUST READ if you want to work in comics.

BOTTOM LINE: Never submit to a comic publisher unless you know the general look of their line. Antarctic Press has a very colorful adventure feel to it, but the honesty of the submission guide combined with the loose and fun feel of their publishing line creates a very inviting atmosphere. They accept both inquiries for writers and artists.

3) Arcana Studios: Some publishers have submissions down to an art form, or at least, an on-site Internet form. Expediancy is something one must consider in comic book submission. After all, why send a comic submission out for three days through the mail, plus postage, when you can send it for free through the wonders of the Internet. Arcana, the publishers of “100 Girls”, “Starkweather” and “Dragon’s Lair”, makes it pretty easy to send your work - provided its completed with at least 5 pages of art.

THE BOTTOM LINE: Definitely one to consider. They have a strong line, and their titles span a wide range of weird and wild, and they’ve risen to top ranks of new comic book publishers because of this. There are a couple of things, however. First off, there are some holes in their website - including dead links and spelling/grammar errors - which are worrisome to the eye. Secondly, the submissions guideline seems more promise than pitch. It doesn’t read with the honesty of Too Hip Gotta Go or Antarctic - and while I’m sure they intend to deliver on their word - its just a bit odd when the publisher is selling to the creator and not the other way around.

2) Ape Entertainment: We’re down to the last two, and both publishers have one thing in common: versatility. Ape Entertainment offers quite a lot outside of the gorilla marketing (yes, that’s a pun, not a mispelling) assoicated with Silver Age Comics. Their titles span from classic pulp (Black Coat) to modern day everymen (Bizarre New World) and an indie terror (Horrorwind). The publisher wants both artists and writers, but is only accepted completed creative teams for the latter. Still, the sheer variety of their submission guide is a comic book creator’s dream.

BOTTOM LINE: They’re pretty much looking for something of everything. Unlike most companies, they accept all genres and all age-groups. In fact, not only do they consider comic book publications, but also role playing games. And they can be reached by web-link (preferred), e-mail and snail mail. Their submission guidelines are very thorough and very clear - they even explain what artistic position fill easier than others. Ape Entertainment also alternates between the role of publisher and packager. They are more on the market for one-shots and mini-series, so this might not be the place for that magnum opus ongoing you’ve been penning for so long. Still, it should rank high on any submission list regardless.

1) Dark Horse Comics: Dark Horse is proving to be a giant in the industry, and stable one that. Those are two qualities usually mutually exclusive with here-today, gone-tomorrow status of comic book companies - one company I reviewed on Free Comic Book Day just wanted to last six months in the industry! Dark Horse got its start the same way Dynamite - by picking up licenses such as Star Wars, Aliens/Predator and Buffy the Vampire Slayer. But Dark Horse Comics would proved its own versatility in later years with in-house hits like “Hellboy”, “Sin City” and most recently “City of Others”. What amazes me is, for as long as I’ve been a comic book fan, Dark Horse Comics has always been open to submissions. The merit of a company company is often judged in how it treats its submissions, and Dark Horse certainly stands above them all.

BOTTOM LINE: There of good to go around. Dark Horse is among the only companies I’ve encountered which still ask for a full script - giving writers a change to strut their stuff with some page length. The company looks for sequential quality over pin-up power for artists, though it accepts submissions of both. And all submissions must include - you guessed it - a Submissions agreement. Did I mention they have page rates - although unknown at this time - a huge bonus over Image!

HOWEVER, just because Dark Horse is the No. 1 Best Bet for Comic Creators, there are some disadvantages to these publishers just like all the rest of the list. The biggest disadvantage for Dark Horse is time. First off, they only accept snail mail. Secondly, due to the huge volumes of submissions they receive (don’t blame them, comes with the territory), they only send responses to people they wish to hire. But just look at their New Recruits Program - they’ve just narrowed down their 2005 list to 20 (admittedly the list was in thousands) and their 2004 New Recruit winner is just now going to the printer.

BOTTOM BOTTOM LINE: Patience is a virture, and Dark Horse is worth the wait, but if your project could be in limbo for a very very very long time!

Time for the Oscars of comics, better known as the Eisners, which makes more sense to me. I mean, I know who Will Eisner is, but I’m still not sure who the hell this Oscar guy is.

The nominees for the 2007 Eisner Awards have been announced. This is actually something I kind of participated, blissfully hoping for a nod myself, from my webcomic “Hector!” and its first year of operation.

It was a long shot . . . a HUGE long shot . . . but I actually did send something out, so it was kind of cool regardless of the lackluster results. But more on that later.

There’s quite a few things of interest in each category, but here are just a few of the highlights:

Stan Lee is up for an Eisner in “Best Short Story” for an entry entitled “Spider-Man Meets Stan Lee”. If I was in Spider-Man’s position, I’d punch Stan Lee in the mouth. Hard.

Will Eisner’s own creation “The Spirit” is back in the Eisners now for “Best Single Issue or One-Shot”. The nomination goes to issue #1 of Darwyn Cooke and Jeph Leob’s “Batman/The Spirit #1″. Though it was among one of the first Spirit comics not written by Will Eisner, the cover was downright hilarious and well-worth the price of admission!

Two of my favorite titles are up for Eisners in the “Best Continuing Series” category - Grant Morrison’s “All-Star Superman” and Allan Heinberg’s “Young Avengers”. If you’re a comic book fan, you owe it to yourself to pick at least one issue of these books up - I think “All-Star Superman” is already out on hardcover as well.

The “Limited Series” category seems a tight race between Paul Pope’s “Batman: Year 100″ and “Through the Looking Glass: Hatter M” by Frank Beddor, Liz Cavalier and Ben Templesmith - both extremely popular series which have sold out almost instantly every time they touched a store front.

“The Long Ranger” is actually up for an Eisner in “Best New Series” - I had heard about this book, but I didn’t know it was actually out. The Long Ranger will need all his six-shooters to make it past the considerable competition though - among them Ed Brubaker’s much-talked-about series “Criminal”.

I got beat by the best in the Digital Comics category. I was so worried I’d be out-done by a bevy of video game comics yet again. “Girl Genius” is great, and one I should probably start including on the Wrap-Up.

The Best Writer competion looks to be mostly a competition between Brubaker and Morrison - those two have contributed so much to the comic book industry lately, its hard to see one of them not going home with something. Besides, Bill Willingham hasn’t stepped out from under the shadow of Fables nearly enough, even with Shadowpact.

I’d really like to see Ben Templesmith (”Fell”, “Hatter M”) win Best Painter, but he’s in for one helluva a fight - Jill Thomspon of “Scary Godmother” fame is among the competition.

John Cassaday of “Astonishing X-Men” seems a shoe-in for Best Cover Artist, but I don’t know, I’ve seen amazing things from Conan’s Tony Harris.

You can see all the rest of the entries here. I’ve done my part