I think you’ve posted links before for others about how to write comic book scripts and such, yet I can’t find them in your archive (so many questions, and have a feeling I passed the one I was looking for). But, is it ok to ask of you of the websites and such that you recommended for people to shimmy on in to?
My process tumbler is http://bendiswordsforpictures.tumblr.com
and that is in direct support of my upcoming book words for pictures which you can pre-order right now on Amazon.com. It is available in both print and Kindle editions
http://www.amazon.com/Words-Pictures-Business-Writing-Graphic/dp/0770434355
that is not the final cover. the final cover will be Debuting very soon
And after me being a dick to Bendis with that last reblog, let me almost make it up by saying that I am genuinely, no-snark-at-all, looking forward to his process book. I love process books in general, and I’m very very curious to see how Bendis deals with the format, as well as explains the way he approaches the medium.
Any plans for an original villain for Miles? Ultimate versions of 616 characters are awesome but I have been dying to see a villain that Miles can call his own.
I can announce to you right here that Miles Morales: ultimate spider–man number 1 will feature the long overdue debut of an ultimate version of the 1960s Spiderman animated show villain.
and that’s not even the thing that everyone’s going to be talking about
“Any plans for an original villain for Miles?” “I can tell you that I’ll be debuting the Ultimate version of an existing character!”
So… that’s a no, I take it.
When we started talking about Zero early last year, our original vision was to eschew artwork, and create covers that are purely image and typography led and in the process create something that truly stands out on the shelves. With the first issue set in the Gaza Strip, I researched satellite and drone cam footage of the area and used that the visual language to create that first cover — however, when we started to review things, we opted to incorporate artwork, primarily because we didn’t want to pull the book so far away that a potential audience would be alienated by it (we’re after all making a commercial product). So we developed a system where each artist (including guest cover artists) gives me a black and white illustration that I then integrate in the cover design; rather the opposite of what you’d call the traditional cover design route where whoever designs or artworks the cover only has space to drop in a logo each and every issue.
I felt strongly that each issue should be designed from the ground up, to accurately reflect the individuality of each issue. Even though the use of typefaces and the basic logo are consistent, they are treated and manipulated differently so the difference in each becomes the element that holds everything together. The other, important element is that I want to create an end-to-end design experience: from the moment you look at the cover, read the story and close the comic, the design runs through it and forms a part of the story, never taking you out of the book — I think that this really reinforces the story and reading experience.
I really, really enjoy Zero, Ales Kot’s spy comic from Image – I think I’ve said elsewhere, but it’s the comic that gives me the closest thing to an Invisibles-style charge since that comic finished. It’s also one of the most fascinating comics around from a visual standpoint these days, in large part because of Tom Muller’s input as designer. The above is a quote from him, as part of an interview with Kot about the first collection’s release.
If you dig comics and you’ve not sampled Zero, you should check out that first collection – it’s cheap and worth it.
CBR: Also this week, it was announced that Marvel will be releasing an original graphic novel based on the ABC show “Revenge,” which follows the earlier “Castle” and “Once Upon a Time” OGNs – what makes “Revenge” a good fit for Marvel?
Alonso: Emily Thorne, in essence, is a real life super hero. Her mission was sparked by a tragic past and she even dons an all-black costume to perform her takedowns. Such a strong and bold character merges perfectly with the world of our ABC/Marvel OGNs, and underscores our commitment to creating new comic book fans. We are beyond excited to be part of reaching “Revenge” fans with an in-continuity tale about this amazing heroine.
It is another year of growth for Marvel, so there is that. But, I think it is clear at this point that Marvel, at least in the Bookstore market, isn’t really that significant of a player able to drive very many hits. Yes, they’re largely dominant in the Direct Market channels, and they rule periodical comics, but their backlist strategy does not seem to be paying off with any kind of solid results – in either market.
I remain frustrated by this because Marvel is clearly a stronger brand than DC, better known, more established, and, for many “civilians,” practically synonymous with “comics” itself. Further, Marvel does rule the periodicals, and strong periodical sales really should yield strong backlist sales – it is audience tested material!
Brian Hibbs looks at the bookstore sales for comics and graphic novels in 2013. As ever, it’s a good reminder of what the true mainstream really is, but I remain stunned that Marvel – arguably one of the biggest brands in entertainment today – remains in seventh place in terms of bookstore sales for western publishers.
On the plus side, Hawkeye sold well for them – as did Deadpool vs. The Marvel Universe, fascinatingly; only 4,000 copies less than Hawkeye – but still. It’s mind-boggling to me that the publisher is apparently unable to break out of the comic stores, especially considering the quality of a lot of the work there right now. Is it just distribution woes, or something else, that’s behind that?