Conan The Barbarian returns to comics on February 8th, 2012 as he faces off against the Queen of the Black Coast at Dark Horse Comics.
In this sweeping adaptation of Robert E. Howard’s fan-favorite “Queen of the Black Coast,” Conan turns his back on the civilized world and takes to the high seas alongside the pirate queen Bêlit, setting the stage for an epic of romance, terror, and swashbuckling. This is Conan as you’ve never seen him, with the combination of one of Robert E. Howard’s greatest tales and the most dynamic creative team in comics!
Conan The Barbarian #1 is written by Brian Wood with art and cover by Becky Cloonan, and colors by Dave Stewart. Also included is a cover by Massimo Carnevale.
Conan The Barbarian #1 is 32 pages of exciting pulp adventure for $3.50.
Cover Art: Becky Cloonan
o A perfect jumping-on point for new readers! o A bold, fresh take on the Cimmerian. o “Queen of the Black Coast” is the most-requested Conan adaptation!
New Pulp Writer Martin Powell will be writing a graphic novel of Edgar Rice Burroughs’ classic Pellucidar adventure, AT THE EARTH’S CORE. The new graphic novel will be illustrated by artist Jamie Chase. Authorized by ERB, Inc. Published by Sequential Pulp/Dark Horse Comics. Coming in 2012.
Sequential Pulp’s Michael Hudson has released the final cover design for Tim Conrad’s adaptation of Victor Hugo’s The Hunchback of Notre Dame. The graphic novel will be released in 2012 from Sequential Pulp Comics and Dark Horse Comics.
Once upon a time there was a powerful Wizard who had evil in his heart. He saw the comic world as a place he could bend to his will. And for a time, publishing companies flocked to him as loyal lap-dogs. Their best artists and writers were doled out to him to make appearances at his traveling circus. He was gloriously powerful, but feared his mortality. Soon, his spells… terrible fluff charms with no bite or news illusions presented way past their prime… weakened his power. The Wizard flailed madly to stay relevant. The people of the comic world simply stopped paying attention. His power dwindled. His traveling circus became a geek show of tired acts. He was left with no choice. He took the few followers he’d kept a grasp on, and sucked their life force… and ran into the forest. And there he stayed, seething, and cursing the public for abandoning him. When a court jester dared make fun of him, he shot from the darkness! But the shot was less than even a first year spellcaster’s magic missile. It fizzled, and died before it could even hit. He-who-everyone-knows has quit magic altogether.
There was a time when the word “Wizard” was synonymous amongst comic book fans as a glorious thing. Wizard Magazine was the zeitgeist of the comic community. Wizard also put on amazing shows featuring top talent, insightful panels, and legitimately helpful workshops. And then the Internet became a thing.
Slowly Wizard became more and more out of touch. As comic book news was published more frequently, its articles became old hat by the time they reached print. The helpful price guide that anchored the last third of the magazine ceased to be of any value. And their shows? I think anyone who has long frequented my writings here know all to well that a Wizard Convention fell from grace harder than Lucifer. Most recently, Wizard shut down its publication arm. It took subscribers’ cash, refused to refund it, and started publishing an e-magazine. No one read it. It shut down too. And should the Internet be believed… the now resigned CEO, Gareb Shamus, perhaps attempted to get an artist fired from his day job for making a scathing webcomic about him.
Shamus reportedly attempted to get an artist fired from his day job for a webcomic published on The Gutters. No other details aside from the strip’s writer (and Gutter EIC Ryan Sohmer) are available, aside from his post on the subject. As he said:
“Should you find yourself the subject matter of a Gutters page, and take offense to it, don’t go after my artists. Should you be so offended that you attempt to get someone fired from their day job, don’t be a coward.
“Come after me.”
Let’s pontificate on this, shall we? If this is to be true, Gareb needs his head checked. Last time I looked, the Internet is a place built on the idea that anyone can say anything they want about anyone else short of legal slander or accusation of murder or rape. I don’t actually know if that’s true, but it sounds right, doesn’t it?
Perhaps Shamus forgot he once ran a magazine that sent quite a few barbs towards Marvel, DC, Image, Dark Horse, and anyone else in the pop culture arena. Half the fun of Wizard, in its hey-day, were its jokes crammed in the margins and in word balloons to article’s pictures. And not once did I read of them getting reamed by Rob Liefeld for drawing pretty man boobs… let alone have an artist potentially fired for drawing a commissioned strip. It’s mind-numbing if this indeed happened.
It’s a sad tailspin the Wizard corporation seems to be in these days. I’ll be honest. I subscribed to their e-mailed magazine when it came out. I gave it three issues. And then it was junked, I unsubscribed, and moved on with my life. For all the good they used to represent, they simply never figured out a way to make their content current. Suffice to say with the utter glut of talent around the edge of this industry just waiting for a chance to write a nice op-ed piece, or jam on a funny strip… Shamus and company truly can’t see the forest for the trees. Well, I’m a nice guy.
And Steven Shamus was immensely helpful in getting Unshaven Comics into two very excellent conventions this year. So, here’s my good deed of the season; Wizard (are you paying attention?), here’s how you can fix your tattered reputation:
1. Have Gareb Shamus post an honest-to-Rao apology to the comic fans around the world. We need to know, in detail, why money was taken for subscriptions not filled, and nothing was done to even things up. We need an apology for promising content, and never delivering. If there’s a pool of people’s money sitting somewhere, you need to make it right. Take it, commission some jam pieces from the artists who still may like you. Better yet, get young, up and coming talent and commission them to do some great pieces. Then send that artwork to the former subscribers, with a big fat I’m sorry written on them.
2. Take the conventions you own and put them back in the hands of those who make the industry work. Ditch the aging wrestlers, and D-List sci-fi extras, and find a way to get back the creators who make these shows what they are meant to be… comic book shows. Not pop culture festivals. Mend fences with those you lost over the years. Comp them. Get them back into the buildings by any means necessary (like groveling)… so they can see their fans. Get them to interact in sketch-offs, trivia contests, and wicked debates. Make the conventions a place to be, and be seen; Not just an overgrown flea market, and autograph zone.
3. Take what resources you do have, and create timely content for other people’s more successful sites. The industry doesn’t need another Newsarama, Comic Alliance, Comic Book Resources, Bleeding Cool, or ComicMix. But all of those sites sure like a good article, a snappy comic, or relevant video. Create the content, release it for free, and excite the fans again. Earn back the goodwill you once had by doing what you should have done a while ago; Apologize. Work hard to earn back the trust and respect from the industry you took for granted, and produce something that stimulates the fan base… instead of pandering to your stock holders in an attempt to appear profitable.
We see through the spells, Wizard… and we know all your tricks already.
I really think day and date release is a disastrous idea and makes no economic sense at all to comics as a business. It’s potentially ruinous for comic stores, and in the long term it’s not going to do publishers any favors either.
No sane creator, or publisher, wants to see comic shops hurt. We all have emotional connections to them, to the idea of them, and we count owners and employees as personal friends. We aren’t looking for digital to steal customers away from shops, but rather to be an additive thing, to be an additional source of income. To simply switch a current print consumer to a digital consumer does not solve any problems! It benefits no one at all. It will not save us.
So what will save us? In the words of Bluto Blutarsky: “My advice to you is to start drinking heavily.”
If you’re in comics, you’ve spent time in bars. (Oh, don’t deny it, the photos are all up on Facebook.) But the question is: what kind of bars? Do you spend it in old man bars where the average age of the customers goes up by one each year? Are the places dimly lit and crowded, but it’s still happening– or have you not been in that dive since you graduated? Is it a friendly place where you and your friends can hang out? Is there a decent beer list, or do they only sell stuff from the big players, without a hint of imported beer or microbrews? Does the person behind the bar know how to make a decent Harbor Light?
And really, why are you spending time in bars anyway? You can get booze cheaper if you buy it and drink it at home. Much cheaper.
This is where we are now with comic book stores– compare them to your bar on the corner. Maybe it’s a place you’d rather not be at all. Maybe it’s okay for some people, but it’s not the kind of place you’d take your mom on her birthday. Maybe it’s a family place, maybe it’s sports only. And just as some bars die out for a variety of reasons, so too do comic stores.
There are great comic stores out there– Challengers in Chicago, The Secret Headquarters and Meltdown in LA, and New York City has a bunch like Midtown and Manhattan and St. Mark’s and Jim Hanley’s Universe. Each one has a different vibe and feel, but they all know how to reach their customers and they’re all places you want to spend some time in.
Is your store a place you really enjoy spending time in? Or is it a place that’s survived because it’s the only way to get your weekly fix?
There are comic stores that have taken these lessons to heart and made them places you want to go to and spend money, even though you can get stuff cheaper elesewhere.
I don’t know about you guys, but I could use a laugh. One would think comics would be a great place to look for laughs, since, you know, they’re called “comics.”
And yet…
But I don’t want to bitch and moan about stuff that’s not funny. I’d rather celebrate what is. Different people find different things amusing, but I suspect that at least one thing on this list will do it for you.
Here, for your entertainment pleasure and in no particular order, are some really funny books, done in the graphic novel format.
Kyle Baker is one of my favorite humans. There isn’t a book he’s done that doesn’t thrill me. The Cowboy Wally Show made me laugh so hard I couldn’t breathe. And if you want to know how he does it, you could do worse than track down How to Draw Stupid and Other Essentials of Cartooning, which is more hilarious than any educational book needs to be.
Another funny guy who works in the comic book business is Evan Dorkin. And luckily, Dark Horse has published a collection of his flagship series, Milk and Cheese.
Howard Chaykin is a known more for his elegant drawing style, his brilliant use of page design, and his sharp insight into the dark side of human society. I, however, love his sense of humor, which I first discovered in American Flagg. I mean, the man made up a character named Pete Zarustica. I’m in love.
Another comics genius known primarily for brilliant use of the medium and his expansive and cosmic intelligence is Alan Moore. He’s funny, too! One of his first series, D. R. and Quinch, is available in a collected edition. It’s like, totally amazing.
Am I stuck on English language humor? Maybe. It is the language I speak and the language in which I form thoughts. That said, I am no cultural imperialist. For example, the Japanese series, What’s Michael, is my idea of brilliant. There are more than a dozen collections, but this Dark Horse edition is a good place to start. Warning: It probably helps to live with a cat.
Believe it or not, there was a time when there was no Internet and people got their news from newspapers, and, when they wanted other points of view, from alternative weekly newspapers. These papers were great places to find brilliant comics, starting with Jules Feiffer in the Village Voice (also syndicated to “normal” newspapers). After a few decades, there were syndicates for these cartoonists, and, today, it’s possible to buy collections of two of my favorites. You don’t have to be queer to laugh at Dykes to Watch Out For, but you do have to be able to recognize that “political correctness” started out as a left-wing joke. If you followed my advice and bought The Complete Wendel you’re familiar with this meme. Ripped from the same pages, and long before The Simpsons, Matt Groening was giving us a guided tour of hell. The nuclear family and all its intermeshed relationships were never so radioactive.
The comics page in daily newspapers is still alive, if not always well. If you miss your laugh a day, you can catch up with excellent compilations. I’m always happy to read Get Fuzzy and would enjoy a whole bunch of them together. And one of the great, and most hilarious, strips of all time is now in one big book. It’s enough to make a person love alligators.
Some jokes are universal, and then there are inside jokes. They not only make us laugh but they also make us feel understood. For us comic fans, I recommend Fred Hembeck who was a regular feature in The Comics Buyers Guide. His work is really dense, and really funny. I also adore Keith Giffen, for his Justice League, his Legion of Substitute Heroes, especially when he’s working on Ambush Bug with Robert Loren Fleming.
I’m sure I’ve left out some brilliant work, but you could do worse than start here when the holiday cheer gets you down.
Folks, I apologize for missing two weeks ago. I know it caused you to cancel plans, cut ties with loved ones, cease working, and maybe join one of the many #OccupyComicMix rallies across America. Well, as one of the 14.3% here who write a column, I assure you it won’t happen again.
Since it’s that time where we start reflecting on where we’ve been, what we’ve accomplished, and what we enjoyed… it figures I’d take a week off of crazy ranting to spread a little appreciation out there for the things in comics I’ve loved this year. What follows is an unordered, unfiltered, unadulterated list of things that tickled my nethers (comicly speaking). Tally ho, my friends.
FF — Those who follow me fully know I am more or less a DC dude. But I told myself this year I would consider more titles to pull from the House of Ideas. Well, thanks to the “Death” of Johnny Storm at the beginning of the year, it meant it was time for a restart of Marvel’s First Family. And thus FF, or the “Future Foundation” was launched shortly thereafter. Figuring it was as good a time as any to jump on board, I subscribed. Here we are, 11 issues later. I have to say, while the book doesn’t leap to the top of my pile when I’m in the can, every time I pick it up, I’m always happy to have done so. Jonathan Hickman is an intelligent writer who can craft one hell of a story. And art chores by Steve Epting, and currently Barry Kitson? The book is clean, Kirby inspired, sleek and sexy.
What I’m truly thankful for with this series is the way Hickman has given us an entire universe unto itself. FF removed from any crossover tie-ins, has been an in-book epic quest. With time travelers, political wars, cosmic disturbances, a heavy dose of Doom and comic relief by Spider-Man? There’s nothing this book hasn’t given me. With a little lull for an info dump at the mid-way point in the first arc past us, the book has continued to grow carefully. It’s been a beacon of true pulp for me thus far.
Gail Simone and Scott Snyder — All they touch glitters and is gold. In 2011, no two writers dominated my pull list more, nor disappointed less. Secret Six, Detective Comics, and now Batgirl, Firestorm, and Batman have all floated to the top of my must-read-pile week in and week out.
Gail’s writing is brilliant in its subtlety. Her books read quickly, but pack more nuance and depth of character than just about any other book on the shelves today. Where I once stood skeptical of Barbara Gordon returning to her lost mantle, I now live and die to read her exploits. Gail’s ability to let her characters talk about what’s actually going on in their mind instead of barking plot advancing banalities makes each comic of hers flow like a movie on paper. And when she falters, say with a weak and predictable initial villain in Batgirl? She makes up for it by forcing us to pay attention to the detailed character work opposite some of the more forced beats in the story. Her dialogue, a smattering of Kevin Smith without the “every character basically shares one hyper-intelligent voice” is never anything but a joy in print. A Simone book these days is akin to Chinese food. An hour after I’ve consumed it, I want more.
Scott Snyder is the yin to Gail’s yang. Get your mind out of the gutter. While I’ve only been privy to his bat-work, as it were, he’s been nothing if not flawless in delivery. His run on Detective Comics this year was, simply put, the best comic series I read. His characterization of Dick Grayson as Batman was pitch-perfect. The balance of his light hearted banter in the middle of a fight, combined with his police-inspired detective skills was written just the way I’d hoped. He wasn’t trying to be Bruce. He was filling the mantle in his own way. And when Snyder took the lead to Batman proper, he delivered once again, making sure we knew that his Bruce Wayne was assuredly not a gruffer Grayson. His plots bob and weave. Villains hide in plain sight, and get the best of his Batmen in ways we can agree with. And he’s done it all while keeping the majority of Batman’s classic rogues out of focus. His new creations fold into Gotham just as well, and don’t ever come across as knock-offs. Suffice to say? He took the ball Grant Morrison slam dunked with “Batman R.I.P.” and shot back-to-back three pointers.
Let’s Be Friends Again! and The Gutters — I don’t read many web comics, kids. But when I do? I read these. As playful jabs at the comic industry today, you can’t find two funnier takes. And sure, my very own studio did do a strip for The Guttersbut we contributed for no better reason than the desire to be amongst greatness. The Gutters have poked and prodded everyone from Dan DiDio to the suits behind Dark Horse with a more than a wink and nod. And thanks in large part to their vast array of artists on file means that three times a week you get a beautiful web comic that delivers that “Friday” quality every strip.
Let’s Be Friends Again! is equally great. A bit more “Penny Arcade” with its core duo than the protagonist-less Gutters, LBFA is hilarity incarnate. Generally taking on just “the big two,” they’ve caused me to chortle out loud more than any strip has otherwise. Don’t just take my word for it. If Racist Galactus doesn’t make you laugh out loud? We can’t be friends.
Unshaven Comics — I’d be remiss if I didn’t shout out some love for my brothers from other mothers. Matt Wright and Kyle Gnepper sacrifice their free time to cram into my basement every week to work on our little rags, and website. With them this year, I’ve traveled to Detroit, Kokomo, Fort Wayne, Chicago, Indianapolis and Columbus. With them, this year, I’ve met hundreds of people, and sold nearly 1000 books face to face! When I had the dream of working in comics, they stood along side me, and shared that dream. Although we’re only a blip on the blip riding on the hump of another blip on the radar of the industry… we’re still there, and I couldn’t think of two more talented people to do it with.
And last but not least… ComicMix, and You — For those who have followed me on this site now for three years, I simply can’t express how much I appreciate your continued support. Even when I piss you off with my insane hatred of things you like, or make you roll your eyes with my unending list of snarky retorts to industry news… you come back the next week. You comment. You share my writings with your friends. To have this opportunity every week, to write alongside literal living legends? It’s something I never thought would be possible. And yet, here I am 20 editorials later, forever grateful for the opportunity and the responsibility.
And with that, I bid you adieu. Don’t worry about all this sap this time around. I hear the Phoenix is coming back, and that makes me want to rant. Later days, kiddos. Later days.
So, along with everything else, I’m trying to write an original graphic novel. It’s taking forever because I have no deadline and I have a ton of other stuff to do. However, it’s on my mind all the time.
Which is fine, because I like my characters, and I like having them in my head. I like them even better since I spent the day with Mary Wilshire, the artist I hope to persuade to draw the thing. Her insights into why people act the way they do and what they look like doing it make everyone more interesting.
The problem with liking my characters is that I want to keep them out of harm’s way, which might be simple human kindness but makes for a dull story. The bad guys have to behave badly, the good guys have to behave well, and the main character must overcome obstacles to find her true self and her purpose in the world.
A writer is supposed to write about what she knows, and what I know about is avoiding conflict to the best of my ability. That’s always my first reaction, even if it’s not always the best reaction. I have to get out of my comfort zone to do the right thing, in my life and, especially, in this story.
The story is about families, about finding out who you are and what you want to be even though you might have been raised to be someone else. It’s about balancing what you need with what you want. It’s about accepting those you love because that’s what love is about, not because they behave the way they should.
So, yeah, it’s kind of a chick book.
Also, a few of the characters have superpowers. I like superhero comics, and I think, in this case, superpowers are excellent metaphors for what we bring to our roles within our families. A character with superpowers is more visually dynamic, more suitable to the graphic story format, for the purposes of this particular story.
So, yeah, maybe it’s not so much a chick book.
The conventional wisdom is that women don’t like superhero comics, that they are turned off by adolescent power fantasies. Since I enjoy superhero comics, I don’t agree with this theory. However, I do think that many women are turned off by puerile male adolescent power fantasies. They might enjoy adolescent power fantasies created by other women.
We don’t know this yet, because no one is publishing original material aimed at this market. In prose, the Charlaine Harris Sookie Stackhouse books are bestsellers. Dark Horse does really well with the Buffy-verse books, based on the phenomenally successful television series. Would characters that didn’t have success in other media do as well?
I hope so. Because that’s the kind of thing that might kick me out of my writer’s block.
New Pulp Writer Martin Powell has shared some new promo art for the upcoming graphic novel of THE ETERNAL SAVAGE he’s writing, illustrated by Steven E Gordon. The Eternal Savage is based on Edgar Rice Burroughs’ classic book and authorized by ERB, Inc. to be published by Sequential Pulp/Dark Horse Comics. You can learn more about Sequential Pulp Comics at http://www.sequentialpulpcomics.com/
I was going to finish up the how and whys of the Action File school system deal this week and begin The Guardian Line Christian publishing deal. I’ve decided to take a step back and deal with some important particulars about these deal-making articles. I’ve gotten some feedback in person and by email over the last week that I want to address so I’ll finish those deals next week.
Someone asked me last week to whom did I think I was giving advice?
I replied: “Me.”
I started last week’s article by saying I was not bragging when I say I’ve got a ridiculous résumé and by ridiculous I mean bad ass and by bad ass I mean impressive and by impressive I mean yada, yada and yada. I stated that so it was clear up front that I am writing from a position of one who has done what I’m talking about. I have little to no respect for people who talk a big game but it’s only talk because they have never really been in the game they are talking about. Case in point, sportscasters who have never played the sport professionally but find it easy to second-guess players, managers and coaches on the field.
