The stop-motion director takes on his first feature film since 'Wallace & Gromit: The Curse of the Were-Rabbit'.Add a Comment
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Blog: Cartoon Brew (Login to Add to MyJacketFlap)
JacketFlap tags: Feature Film, Stop Motion, aardman, Aardman Animations, David Sproxton, Early Man, Nick Park, Olivier Courson, Peter Lord, STUDIOCANAL, Add a tag
Blog: Playing by the book (Login to Add to MyJacketFlap)
JacketFlap tags: Mini Grey, Adventure, Cats, Cheese, Dogs, Dressing up, Friendship, Games, Humour, Imagination, Mice, Planets, Space, Add a tag
Out in the depths of the Spooniverse Space Dog is getting read to return home following a long mission sorting out planetary problems in the Dairy Quadrant. Just as he starts to unwind a distress call comes through on his Laser Display Screen. Without a moment’s hesitation our super hero, Space Dog, jumps to and rescues the occupant of a flying saucer drowning in an thick ocean of cream on a nearby planet. But what’s this?
It turns out he’s saved his sworn enemy: Astrocat.
Will they be able to put aside their differences as another cry for help comes in over the space ship tannoy? Will teamwork triumph as they face terror together?
Space Dog by Mini Grey is an anarchic, adrenalin-packed adventure of The Highest Order. Utterly and joyously playful, wildly and lavishly imaginative, this dynamic and delightful journey exploring space and friendship is sublime.
Grey’s witty language, from the hilarious exclamations made by Space Dog (“Thundering milkswamps!”, “Shivering Stilton!”) to the deliciously outlandish names of rare alien life forms (the Cruets of West Cutlery, the Fruitons of Crumble Major) has had us all giggling time and again, even on the 15th reading of Space Dog. Her pacing is timed to perfection, with dramatic stretches interspersed with moments of great relief and humour, drawing readers, listeners, grown-ups, children ever more closely in to Grey’s fantastic, phenomenal
Grey’s illustrations are equally packed with panache. From the detailing given to brand labels and packaging (whether on space food or game boxes) to her powerful use of suggestion (look out for what is almost missing off the page on the spread immediately before Space Dog and Astrocat land on Cheesoid 12, or the shadow redolent with threat as they turn to leave the Cheesy planet), Grey’s illustrations richly illuminate the world she has built to share with us, giving enormous pleasure every time they are returned to.
Although there are echoes of super hero comic strips and silent movies with their intertitles, dramatic soundtracks and expressive emotions theatrically mimed, Mini Grey’s visual and verbal style is truly unique. Spirited and inventive, Space Dog is an outstanding book and fortunately you can find it right here right now in our very own universe.
Every single page turn of Space Dog was met with “Mummy, can we do that??!!”, whether it was making a planet out of cereal packets, coming up with a recipe for supper based on the Spaghetti Entity in the Pastaroid Belt, designing our own version of Dogopoly, rustling up Astrocat’s cake, making spewing tomato ketchup volcanoes, or playing with fondue. In the end we settled for making spaceships for the characters in the book, and flying them over our patio.
Using this fantastic tutorial from one of my favourite library blogs as a starting point, we created spaceships using paperplates, plastic cups and stickers. Where Pop Goes the Page used toilet cardboard rolls, we used yoghurt pots instead, and aliens were replaced by Space Dog and other astonauts cut out from print-offs of these drawing pages created by Mini Grey.
We dressed up as astronauts ourselves, making space suits from disposable painting overalls, decorated with electrical tape and completed with control panels from cardboard.
Once appropriately attired we were ready to launch our space ships. Unlike Pop Goes the Page we used nylon bead thread rather than wire to make a zip line, partly because this is what we had to hand, but also because it’s extremely smooth and there are no issues with kinking. One end was tied to the bathroom window, the other to the end of the washing line in the garden.
Soon spaceships were zooming all over our patio…
Later we turned our hand to making hats for a fruit and vegetable parade, inspired by the hat competition which Space Dog has to judge:
Whilst making our spaceships and competition-winning hats we listened to:
Sputniks and Mutniks by Ray Anderson & The Home Folks. I discovered this thanks to this interesting NPR article, Sputniks in Space.
Other activities you could try inspired by Space Dog include:
Would you like to go into space if you had the chance?
Disclosure: I was sent a free review copy of Space Dog by the book’s publisher.
After you've let your first draft sit for a bit, it's time to ask these questions.
Blog: A. PLAYWRIGHT'S RAMBLINGS (Login to Add to MyJacketFlap)
JacketFlap tags: A Wedding, a wedding play, comedy, dialogue, entertainment, first scene of play, funny, humor scene 1, Add a tag
Sharing the first scene of my first play, "A WEDDING" a.k.a. "MAKE ME A WEDDING." A comedy, the story focuses on the trials and tribulations of a young couple who want a small, intimate wedding, versus the bride and groom's mothers, who want an all-out, no holds barred (expensive) affair.
In this opening scene, the bride announces her engagement to her parents.
kitschy French-provincial furniture, circa 1970’s. On
either side of the couch are two end tables with drop
“crystal” lamps on each table
his wife, sits in an armchair, absorbed in her knitting.
She glances up from time-to-time to watch MORTY
Do I hear right? You would deprive your parents of making you a big tra-la-la-wedding? I think I'm gonna faint. Catch me Morty!
Blog: Brooke B. (Login to Add to MyJacketFlap)
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Blog: So many books, so little time (Login to Add to MyJacketFlap)
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I recently had school visits in Central Oregon. Two memorable things about that visit: the librarian got deathly sick the morning of the visit, and despite our best efforts, I picked up what she had and took it with me to Wisconsin a few days later.
But the second, much better thing, was that while I was there I met up again with old 7th grade history teacher, Mr. Perkins. I loved him as a teacher, and meeting him again, some 40+ years later, I remembered why. He still asks thoughtful, intereting questions and he listens attentively to your answers. It was nice to hang out with someone who was more my parents' peer. Fewer and fewer of my friends have living parents.
I got home, hoped I had escaped getting sick, and then the day before I flew to Wisconsin, I started coughing. I remembered the librarian doing the same thing, but hoped it was allergies.
After taking three flights to Appleton, Wisconsin - and for the longest flight, my seatmate was 6 foot 3, which meant he physically did not fit in the seat - I landed and quickly realized I was in trouble.
I ended up walking to a nearby Target and getting every OTC cold remedy known to man. The next day, my ride bought me chicken soup By that time, I was trying to refrain from even making small talk, because my voice was going. In between speaking engagements - 9 school visits and/or writing worshops and one book festival visit - I did everything I could to keep myself going. Lozenges, throat spray, Throat Coat tea, honey and water, sitting by the hot tub at the hotel, using saline nasal rinse, and drinking at least one bottle of water an hour (Appleton has sweet tasting water, so it mostly came from the tap).
The Throat Coat tea helped the most, but it was no match for how bad I was feeling. By my second to the last visit, I started thinking I might pass out. For my last talk, the kind librarian sent kids on a scavenger hunt to see if any teachers used stools with backs. They came back with two. Somehow I made it. I just didn't want to disappoint the kids.
I actually think I did a pretty good job.
Blog: PW -The Beat (Login to Add to MyJacketFlap)
JacketFlap tags: Cartoonists, Process, Top News, Daniel Clowes, Add a tag
Photo by Abigail Huller, via Oakland Museum of California
Do you still work the same way you did 25 years ago, drawing by hand at a table?
Yes. I was just at an antiquarian book fair, and I picked up this catalog for a cartooning correspondence course from 1921. There was a photo of all the tools you need to use for cartooning in 1921, and it could be a photo of my drawing board: T-square, a watercolor brush, some ink, a pen, an eraser and a pencil. I do the coloring on a computer, but for the drawing I need to not have any screens around me at all.
Ben Sisario chats to the artist about Eightball
And also, more tantalizingly, Patience, which turns out to be a full on SF story that “Energized” the artist.
Your new book, “Patience,” is a time-travel story, a very common comic-book trope. How did you come to that theme?
At a certain point I realized that the time-travel story, as many times as it’s been done, is an archetype that can go off in any direction. I didn’t want it to be about science of time travel. It’s more about the psychological aspect of what that would mean. I feel like a lot of my work is about time travel in other ways, about memory and living multiple lives at the same time.
“Patience” is sort of about chasing after a relationship to make it perfect. That’s a poignant topic regardless of the sci-fi aspect.
It had a lot to it, which is why is why I made it as long as it is. One of the main rules I have for working is that as soon as it becomes boring I either get rid of what I have and start over, or go in a completely new direction. And I have to say this one was never boring. It was really energizing to work on from start to finish, even though it was five years.
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Blog: Cartoon Brew (Login to Add to MyJacketFlap)
JacketFlap tags: Feature Film, Chris Wedge, Derek Connolly, Glenn Berger, Jonathan Aibel, Monster Trucks, Paramount Animation, Add a tag
The brakes have been applied on the new project from the 'Ice Age' director.Add a Comment
Blog: PW -The Beat (Login to Add to MyJacketFlap)
JacketFlap tags: Comics, DC, Reviews, Top News, DC Comics, Injustice Gods Among Us, Injustice gods among us: Year four, review, Add a tag
Injustice Gods Among Us: Year Four #1
Writer: Brian Buccellato
Art: Bruno Redondo
Inks: Juan Albarrran
Colors: Rex Lokus
Publisher: DC Comics
Since the series inception under writer Tom Taylor, Injustice Gods Among Us digital first book (based on the hit game by Mortal Kombat creator Netherrealm Studios) has been one of the overall best books in DC Comics line up. Now under the meticulous pen of current Detective Comics co-writer Brian Buccellato, Injustice methodically kicks off its Year Four story.
Chapter one is part epilogue along with being part set up as it deals with the aftermath of the destructive battle between Mr. Mxyzptlk and Trigon at the end of Year Three. Superman continues his crusade to save the human race from itself by his iron fist rule, Batman has gone into hiding as he plots his next idea to remove him from power, and all the while Ares schemes to return the worship of mortals to the gods instead of Earth’s metahuman pretenders. Since the series takes place five years before the events of the game, this volume is already hinting at some of the threads that are left to be tied together such as Damian’s transition to Nightwing and Batman’s plan to bring the heroes from the other dimension over.
Buccellato continues to show why he’s one of comics most underrated writers. His understanding of how these characters differ from the regular DCU books is put to use in showing how the cracks in Superman’s regime develop. Hal Jordan and Superman show an intolerance for each other you wouldn’t see anywhere else. His Damian Wayne has a different type of chip on his shoulder compared to the regular DC version. It’s almost like he blames Batman for the actions that led to his killing Dick Grayson and that makes him as far from the boy seeking his father’s approval as you can get.
The art teams seen before in previous issues will be returning to action in Year Four. Issue one features the line work of Bruno Redondo. Out of all the artist the series has seen, Redondo’s work is most representative of the visual world established by Netherrealm in the game.
While this opening isn’t new-reader friendly to those who haven’t read any of the Injustice books or played the game; it’s a great continuation of the events unfolded thus far. Year Four is a carefully paced opening that’s a prime example of the writer’s strengths. Buccellato has a habit of making his characters earn their big moments, which make those points even better reads.Add a Comment
Blog: Reading Teen (Login to Add to MyJacketFlap)
JacketFlap tags: Clean Reads, Fantasy, Mythology, Reviews: Amy, Romance, YA, Add a tag
Bree Despain's INTO THE DARK series is based on two of her favorite Greek myths: Persephone and Hades, and Orpheus and Eurydice. Both are stories about people who ventured into the dark (or the unknown) for the sake of love. Most people are more familiar with the Persephone myth than they are with the story of Orpheus and Eurydice so Bree decided to to make a little 4 minute movie version ofAdd a Comment
I am certain that in a previous life I loved cooking. I’m certain that I was one of those people who threw ingredients into a pan with abandon and created great and wholesome dishes that were the envy and delight of many. (Cue image of Meryl Streep from “It’s Complicated”.) (Don’t mock me for liking this move. It’s Meryl-freaking-Streep. I get to love it without shame.)
I am certain that in some parallel dimension I am an excellent cook.
Enter Tod Davies and Jam Today, Too. Following up on Jam Today: A Diary of Cooking With What You’ve Got, this new foodie title includes more of the author’s wonderful recipes along with peeks into her life as a carnivore who is married to the “Beloved Vegetarian Husband”. This time Davies has some trouble on the homefront however, as a flood has seriously damaged their Oregon home forcing relocation into temporary digs. This includes some weeks in a RV which produce more than a few hilarious cooking anecdotes about a teeny tiny RV stove.
Here’s what I love about food writing: clearly written recipes that make me think I can cook the meal myself and some insight into the life & mind of the cook who crafted them. Davies has all of that and more going for her; the recipes ingredients range from basic to exotic (I don’t see myself eating oxtail anytime soon!) and none are overly complicated. What really sells the book though are her stories about how she comes to these recipes (like the oxtail), the friends she eats them with and the good times she has (even when eating alone).
And here’s the best thing about her, Davies celebrates just trying – that you shouldn’t worry every second that you are “doing it right”. Here’s a bit about that attitude from the book:
There are two questions that interest me mainly, and food is just a way of getting more answers for me, not an end in itself. Which is why it is endlessly fascinating. And not just that–endlessly productive. I don’t mean endlessly productive of meals (though there certainly is that benefit!), but rather, endlessly productive of insight. Insight that leads me to a firmer understanding of my likes and dislikes, and through that, to building my own autonomy. Autonomy, I truly believe, is what each person owes the world——because only an autonomous adult, who knows who she/he is, and knows what her/his duties and rights are, can participate in making our world better for everyone.
Some recipes, laughs and philosophy on food and life. What more could you want from a book? Highly recommended as just the sort of summer diversion we all are looking for.
You can read an interview with Tod here.Add a Comment
As someone who kept a diary as a kid and still does on an albeit infrequent basis, diaries as an art form are a very attractive draw for me. I love to read them and then get really depressed because my diaries are never so interesting as that, never so well written or filled with exciting things or deep thoughts. No, my diaries were about school and friends and who was being mean and how I was feeling lonely. Now they are about work and friends and who is being mean but not so much about being lonely so I guess that’s an improvement.
As Heidi Julavits discovered when she found a childhood diary, they usually end up telling us a different story about ourselves than the one we have currently concocted. As she says at the beginning of The Folded Clock, she has told people that her childhood diary keeping was the seed of her becoming a writer. So when she read her old diary looking for evidence of the future writer, she was surprised to find her absent and instead discovered the mind of a future “paranoid tax auditor.”
The really interesting thing about diaries is that even though they generally have no plot or narrative structure (unless you are writing for publication), the writer thinks she is relating facts but in reality she is assembling a story or an explanation, she is creating something and stamping it with her point of view. And then time intervenes and during those span of years the story created in the diary morphs into something else as the “narrator” becomes more sophisticated and gains more knowledge and experience. We really want our lives to be like a story with a plotline, we want to see in our past selves the beginnings of who we have become and like to think that who we are today is the key to who we will be in the future. But diaries have a tendency to point out the fallacy of narrative desires.
The Folded Clock is written like a diary but it liberally plays with the genre. The entries are dated (month/day but no year) but they are not in order; July 16th follows July 31st and is followed by May 2nd. In homage to her childhood self, Julavits begins each entry with “Today I.” And while it might start with today, it rarely ends with today. Instead it turns into a mini essay of sorts that are sometimes only a page long and sometimes two or three. We get meditations on time and losing things and people, lots of mulling over identity from various angles in more than one entry, thoughts on middle age and adultery, and musings on needs and desire. We also get lots of self-deprecating humor, worries over what is proper friend etiquette in various situations, arguments with her husband, thoughts about her children, and everyday life stuff. The high mixes liberally with the low and all is told in Julavits’s pitch perfect voice. I mean, how can you not like someone who writes this:
Today I read a book while holding a fountain pen. I often have a pen in my hand when I read. I am trying to fool myself into thinking I am writing when I’m not. I read with a pen in my hand because it helps me think. If I underline a sentence, I temporarily own it. It’s mine. I have bought real estate in this book, laid down stakes, moved in. This does not mean I remember where I live. I turn the page. I lose my place.
The Folded Clock is a fun, thoughtful read, never heavy even when talking about a serious subject, but not flippant either. It is serious without taking itself seriously. And because of the diary format, it makes for perfect before bed or in between activities reading.
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Blog: Galley Cat (Mediabistro) (Login to Add to MyJacketFlap)
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Amblin, a production company owned by film director Steven Spielberg, has plans to adapt Aldous Huxley’s Brave New World for television.
The Hollywood Reporter has the scoop:
First published in 1932, Brave New World will be adapted by writer Les Bohem, who penned Taken, which won the 2003 Emmy for best miniseries and racked up six other nominations. Amblin TV co-presidentsDarryl Frank and Justin Falvey will executive produce alongside Bohem. The drama hails from Universal Cable Productions.
“Brave New World is one of the most influential genre classics of all time,” stated Dave Howe, president of SyFy in a statement. “Its provocative vision of a future gone awry remains as powerful and as timeless as ever. Promising to be a monumental television event, Brave New World is precisely the groundbreaking programming that is becoming the hallmark of Syfy.”Add a Comment
Blog: Cartoon Brew (Login to Add to MyJacketFlap)
JacketFlap tags: Artist of the Day, Christmas Dinner, Jimmy Simpson, Square Street Studies, The University of the Arts, Yule Log, Add a tag
Discover the work of Jimmy Simpson, Cartoon Brew's Artist of the Day!Add a Comment
Blog: prime time rhyme (Login to Add to MyJacketFlap)
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A malted made without the malt
You may think a mistake,
But take a sip - it still tastes great
Though now it's called a shake.
A real one, though, comes with a tin
Directly from the shaker,
A second glass-worth sitting there,
A present from the maker.
You slurp it down, so cool and sweet
And when your straw hits air,
You pour a refill from the tin,
So calmly waiting there.
There's nothing like a milkshake
When you're really in the mood -
A splurge, a treat, a pure delight
And better than most food!
Blog: PW -The Beat (Login to Add to MyJacketFlap)
JacketFlap tags: Art, Comics, Top News, By Its Cover, Add a tag
The column that judges a book by its cover, focusing on the month’s best-designed comic covers. For the month’s best-illustrated comic covers, see Best Comic Covers Ever (This Month).
Deep State #5 by Matt Taylor
There are a lot of things working really well in this cover. The core image is very simple, while the complex red lines add texture. The color scheme is solid. But the thing that really grabs my interest is the realization that the gun to the back of his head looks like it could be his own, disappearing off to the side and coming out the other. Depending on how well the comic was trimmed at press, you could line them up side-by-side and create a repeating image (except for the texture that doesn’t quite match up). It’s a fun concept.
Ghosted #19 by Dan Panosian
I always enjoy seeing clever attempts at integrating the logo into the image. Filling most of the cover with the logo, dwarfing characters placed in front of it, gives the image an epic feel. Unfortunately, the other text elements seem like afterthoughts in comparison. Also, while I noticed right away that the logo was part of a fence, it took me awhile to realize that the “O” was a door opening.
Outlast #8 by Paul Azaceta
I love the color palette of this image, except that the darkest black seems a little too loud. It could’ve been just a little more subtle. I love the mood of the cover, which reminds me a little of the indie game Kentucky Route Zero, but there’s something goofy happening with the perspective of the figure in relation to the background. He’s towering over that car. I like the placement of all the text elements, but every time I see the logo, I think it says “Outlast.”
Bucky Barnes: The Winter Soldier #7 by Mike Del Mundo
The only problem with this cover is that it disappoints me by being for an issue of Bucky Barnes: The Winter Soldier, a series that is very clearly not about a boy flying a kite with his robot while death looms overhead. Unless I’m wrong, and the series has been transformed into a quirky indie book?
Ms. Marvel #14 by Jake Wyatt
I love the idea of integrating the logo in this way, but I think the composition would be much stronger if it was all moved up and to the left a little, kind of like this (please excuse the sloppiness of the edit).
Adventure Time #36 (2nd Printing) by Jay Shaw
This might be the most epic Adventure Time cover I’ve ever seen. Unfortunately, the text placement on the printed cover kinda screws it all up. One AT fan I showed it to didn’t even realized it was Jake at first due to the way the logo interrupts the image. It might’ve worked better to make the logo smaller and move it to the lower right corner above the barcode.
Howard The Duck #2 by Joe Quinones
The bottom is so cluttered with randomly placed elements, but the illustration made me smile, so it gets a free pass.
Convergence Variants by Chip Kidd
I was tempted to be a smart ass and just copy/paste the text from my very first column, where I talked about concept dilution. Instead, I’m going to be a smart ass by linking to that installment, so you can see just how similar these covers are to the original example I used.
Apologies to Chip Kidd — I do enjoy your work a great deal. :-)
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Each carving thread of sunset strand
Burnishes to mind
The lowly things inside the sand
Which have lately come alive.
How wondrous is our oval place,
The bay yawns open wide.
Its teeth the little houses face
In company confide
All ages here within one time
All years and journeys met
Without the worry of when or then
Gulls strung up from tip to tip
Strings in bellow curl
Glassy toes of pebbles whet
The clarity of home.
Oh Quincy Bay, and wild marsh
Your Spirit is alive.
And ever play around my neck
Sunset sad and sunny fleck
Deep hearted tree
Deep heart in me
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Blog: PW -The Beat (Login to Add to MyJacketFlap)
JacketFlap tags: Comics, Crowdfunding, Image, Interviews, Kickstarter, Brian Booch, Brian Buccelleto, Image Comics, Kyle Higgins, sons of the devil, Toni Infante, Add a tag
Welcome to MATT CHATS, where I (Matt) talk to a person of interest in the comic book industry every Tuesday at 4:30 PM Eastern. Today I am speaking with an industry veteran but relative necomer to the Image renaissance. When Brian Buccelleto offered the first two issues of his upcoming Image series Sons of the Devil (also a short film) to reviewers on a recent episode of the Word Balloon podcast, I jumped at the chance to read them and talk to him. As a fan of his collaborations with Francis Manapul on The Flash and Detective Comics, I was not disappointed, more than happy to discuss with Brian the differences between something on the screen and on the page, the effect crowdfunding has on financials and other aspects of the creative process.
Did you talk with Kyle Higgins about the process of bringing something from the screen to the comic book page?
He’s a really close friend of mine and so we talk about everything – including the process of filmmaking and comic books. That said, he helped me out a lot on the film. Shout out to Kyle!
How are your philosophies similar?
We love film and comics and want to do both. So I think everything we create is done with the hope of being able to tell the stories in both mediums.
What do you think are the pros and cons of doing a film simultaneously with a comic, as opposed to adapting a film years later like Higgins did?
I think the biggest pro for doing it simultaneously is that you can actually SEE the story come to life on screen, which informs what you do in the comic AS you are doing it. Having actors take your material, interpret it, and make it their own helps you see the characters in new and interesting ways. Also, in the case of Sons of the Devil, we were able to secure interesting locations and have visual reference that I then gave Toni in the script. I think there was a certain level of synergy with doing both comic and film together. For Kyle and C.O.W.L./The League, I think adapting it later allowed him distance to cherry pick the best elements of his short. Honestly, I don’t know if there is a downside to either. Making comics and films are each awesome experiences… getting to do BOTH is off the charts awesome.
What are some storytelling benefits of telling a story both on the comic page and on the screen?
I think the two mediums are similar but have their own inherent advantages in how the story is told. Film is a forward-moving visual medium where you experience the story with sight and sound. There is a momentum to films that you want to sustain because you HOPEFULLY have the viewer’s undivided attention and you want to keep it. It’s more of a sensory experience for the viewer. Comics are also visual, but are experienced at a pace dictated by the reader. There is no captive audience. In some ways that’s a disadvantage… but the benefit of a comic is that a reader can spend as much time on a single page as he/she wants. And the reader can go back and re-read and really digest the material without it hurting the experience.
What kind of audience did the Kickstarter attract? Was it more composed of fans of films or comics?
It was mostly comprised of fans of my work, who were intrigued by my transmedia concept.
Does the fact that the comic was funded through a Kickstarter campaign change the financials of the series at all? Because of the Kickstarter, for example, is the sales threshold lower?
II I don’t think being a Kickstarter project has any bearing on sales thresholds. In the case of SOTD, almost all of the funds we got went into the budget of the short film – which ended up costing more than what we got from Kickstarter. So financially speaking, the Kickstarter didn’t pay for the ongoing series. I had to get financial support from other means. But Kickstarter allowed me to start the comic book and get far enough down the road to pitch it to Image. This allowed me to take the concept from its initial plan as a one-shot to becoming an ongoing series.
Kickstarter is as much about marketing tool nowadays as it is a way to amass funds. How big of an impact do you think the campaign has had on the visibility of the work?
Honestly, I don’t know how directly Kickstarter will factor into the marketing of the book. I had approximately 250 backers, so I don’t think that number will significantly impact the sales number for issue 1.
For any artists looking to be discovered, can you describe how you searched for an artist for Sons of the Devil?
I feel VERY lucky. I was searching an international portfolio website called Behance when I came across Toni Infante’s work. I also tried DeviantArt and inquired using social media.
What were some of the challenges of working with a less experienced artist?
Honestly, I don’t look at his art or our lack of American comic credits and think “less experienced.” He is a professional artist with an amazing skillset, and I haven’t had any challenges that you might associate with a new artist.
Were there any benefits?
Only that I get the honor of working with him.
Was it hard letting go of the coloring duties for Sons of the Devil?
Not really. I’ve been coloring for 20 years and have had my fill. Of course, him showing me great coloring samples helped to make the decision easy.
You’re perhaps best known in the comics scene for your collaborations with Francis Manapul. Has it been difficult in any ways to be seen as a writer in your own right?
Not really. I made the decision to do my own solo stuff very early on, so that I could carve out my own identity as a writer. I self-published a book called Foster early on in our Flash run and did a 12-issue Black Bat story for Dynamite. I think it took a little more time for me to build trust within DC editorial so that they saw me as an individual in collaboration with Francis and not just the guy that he brought in to help. But to their credit, they have been very supportive of me and have allowed me amazing opportunities to shine on my own with Rogues Rebellion, Injustice and a few solo arcs on Flash. Oddly enough, I think Francis has had a tougher time being seen as a writer because he is such an amazing artist that it overshadowed his own writing chops. But he IS a writer/storyteller and has future plans to do his own solo stuff.
What are your hopes for Sons of the Devil professionally, creatively and personally?
Personally and creatively, I am always trying to grow as a writer and tell personal stories that resonate. So my hope is that each project I do is better than the last. Professionally, I would love for SOTD to be an ongoing series AND a television series.
Do you think the amount of great output from Image Comics good for business, or does it make it harder for your book to stand out?
I think there is always room for good books from every corner of publishing. The Image brand is obviously something any creator would want to be associated with. The amount of quality content that Image puts out means that retailers and fans will be more likely to try the book because Image’s track record is a promise of quality. As far as standing out among the other great books, I think that’s a challenge no matter how many books Image is publishing. There are 400 books that come out in a given month… so standing out is bound to be a challenge,
What’s the most exciting part of taking the plunge with a creator-owned series from Image?
Being able to tell the stories I want to tell EXACTLY how I want to tell them. Unfiltered.
You can find Brian on Twitter and his name on issues and trades in comic shops across the world.Add a Comment
Blog: Galley Cat (Mediabistro) (Login to Add to MyJacketFlap)
JacketFlap tags: Editors, Revolving Door, Janice Audet, Add a tag
Audet gave this statement in the press release: “As both a reader and a publisher, I’ve long admired Harvard University Press’s strong science publishing program. Working outward from my background in cellular and molecular biology, I look forward to growing this program and to broadening my author network across the life sciences”
Audet has devoted more than a decade of her life to a career in publishing. In the past, she has held editorial positions at Jones & Bartlett and Pearson. In 2011, she was named editor of the year for science and technology books at Elsevier.Add a Comment
Part of the appeal of NA is that the storylines are about characters who are taking on adult responsibilities for the first time without guidance from their parents. And the storylines generally have a heavy romance element.
Keep this in mind as you revise your wonderful story, New Adult books are mostly about that specific time in every person's life—the time when the apron strings are cut from your parents, you no longer have a curfew, you're experiencing the world for the very first time, in most cases, with innocent eyes. New Adult is this section of your life where you discover who you want to be, what you want to be, and what type of person you will become. This time defines you. This is the time of firsts, the time where you can't blame your parents for your own bad choices.
An NA character has to take responsibility for their own choices and live with the consequences. Most storylines are about twenty-something (18 to 26) characters living their own lives without any parents breathing down their necks, and learning to solve things on their own as they would in real life. New Adult fiction focuses on switching gears, from depending on our parents to becoming full-fledged, independent adults.
I am a firm believer that if you’re going to write a certain genre that you should read it, too. So I’m going to recommend that you start devouring NA novels to get a real sense and understanding of the genre before you write one.
Here are some great recommendations: https://www.goodreads.com/genres/new-adult-romance and http://www.goodreads.com/genres/new-adult and https://www.goodreads.com/shelf/show/new-adult-romance
Just as YA is fiction about teens discovering who they are as a person, New Adult (NA) is fiction about building your own life as an actual adult. As older teen readers discover the joy of the Young Adult genres, the New Adult—demand may increase. This, in turn, would give writers the chance to explore the freedom of a slightly older protagonist (over the age of 18 and out of high school, like the brilliant novel, "BEAUTIFUL DISASTER" by the amazing talents of author, Jamie McGuire) while addressing more adult issues that early 20-year-olds must face.
Quote from Georgia McBride, author (Praefatio) and founder of #YALitChat and publisher at Month9Books: "New Adult is a fabulous idea in theory, and authors seem to be excited about it. But in a world where bookstores shelf by category, to them, it is either Adult or Young Adult. Some booksellers even call their YA section “teen.” And when you have a character who is over a certain age (19 seems to be the age most consider the start of New Adult), it is received as Adult. In some cases, the designation by publishers causes more confusion than not.
Let’s face it, YA is associated with teens, and at 19, most no longer consider themselves teens. So, it would support the theory of placing these “New Adult” titles in the Adult section. However, with the prevalence of eBook content, it would seem that the powers that be could easily create a New Adult category if they really wanted to...."
- Jamie McGuire
- Jessica Park
- Tammara Webber
- Steph Campbell
- Liz Reinhardt
- Abbi Glines
- Colleen Hoover
- Sherry Soule
Does it sound better than YA (teen novels)?
Do you consider YA to include characters that are over the age of eighteen?
On a visit to Tokyo with her family, Fusselman stumbles on Hanegi playpark, where children are sawing wood, hammering nails, stringing hammocks to trees, building open fires. When she returns to New York, her conceptions of space, risk, and fear are completely changed. Fusselman invites us along on her tightrope-walking expeditions with Philippe Petit and late night adventures with the Tokyo park-workers, showing that when we deprive ourselves, and our children, of the experience of taking risks in space, we make them less safe, not more so.Writing
Savage Park is a fresh, poetic reconsideration of behaviors in our culture that — in the guise of protecting us — make us numb and encourage us to sleepwalk through our lives. We babyproof our homes; plug our ears to our devices while walking through the city. What would happen if we exposed ourselves, if — like the children at Hanegi park — we put ourselves in situations that require true vigilance? Readers of Rebecca Solnit and Cheryl Strayed will delight in the revelations in Savage Park.
Very well written. I think Fusselman is an excellent essayist and she has a lot of great things to say about the nature of play, space and risk in relation to both children and adults. I like that she included both aspects and that the book wasn't just a meditation on over-parenting. The essays are all short and easy to follow although some are fairly philosophical in nature and do require the reader's full attention.
As I mentioned above, some essays are more philosophical and therefore more difficult to read than others, but that doesn't mean they're less interesting. I do think, however, that this is going to have a somewhat limited appeal to the general reader. Unless you find the topic of play and risk and what it means to take up space of particular interest, you probably won't be as entertained by this as a reader who either has a topical interest or, like me, who just really enjoys a well-crafted essay.
It's a great read and makes for either an afternoon of thoughtful reading or as something you can read an essay at a time. It's not something that will grab you and not let you go, but it is interesting and something that left me pondering what it really means to be safe and how to challenge my own fears.
Thanks to NetGalley for providing me with a copy to review. Add a Comment
जो सोचेगी दर मेरे आने की तू रानी, चुन चुन के राहों में फूल रख दूँगा,
जो सपनो में लगी गले एक बार, असलियत का नाम फ़िज़ूल रख दूँगा,
क्या दुनिया सिखाएगी मुझको मोहब्बत, अंदाज़े बयान निराला है अपना,
पूरी कायनात बिक जायें जितने में यहाँ, इतनी चमकती धूल रख दूँगा,
बस एक नज़र देख ले तू मुझको, हर पल तुझे ही पाने की चाह रखता हूँ,
बस तेरी एक मुकुराहट के वास्तें यहाँ, दान में मैं हर एक शूल रख दूँगा
बस "मेरी तू" और "तेरा मैं" ही तो है, एक बार इस रूह को तू छू जा,
तेरी वो परछाई ओढ़ लूँगा मैं सनम, तेरे आगे अपनी हर भूल रख दूँगा,
जो डर है तुझको ज़माने का 'साकी', एक बार तो नज़रे मिला दे हमसे,
ख़तरे की आहट भी जो हुई मुझे, भगवान के आगे भी त्रिशूल रख दूँगा|
Blog: The Children's Book Review (Login to Add to MyJacketFlap)
JacketFlap tags: Ages 9-12, Animal Books, Author Showcase, Books for Girls, Chapter Books, Mysteries, Teens: Young Adults, Books with Danger, Dedicated Reviews, Dogs, J. Peter Clifford, Mystery, Add a tag
Sophie and The Finn: Secret of the Box is the second book in author J. Peter Clifford’s mystery series about Erica Stafford—a spunky seventh grader who has premonitions and often finds herself embroiled in risky adventures—and her two loyal dogs, Sophie and The Finn.Add a Comment
Blog: ALSC Blog (Login to Add to MyJacketFlap)
JacketFlap tags: Call to Action, Child Advocacy, Early Literacy, Guest Blogger, Partnerships, children's librarians, Every Child Ready to Read, Talk Read Sing, Add a tag
Talking is Teaching: Talk Read Sing, a campaign of Too Small to Fail, offers libraries tools for high-exposure partnerships in early literacy, and a clear alignment with Every Child Ready to Read through its targeted parent engagement strategies to close the 30 million word gap.
As an advertising campaign to parents, it works on the evidence that organized drives to change behavior are most effective when they use “nudges” to remind people to make small changes in their daily routines. The campaign asks communities to organize its trusted messengers (us!) to work together, putting that consistent message “Talk Read Sing” in front of parents throughout their day, and throughout their city. And it gives us plenty of tools to do it.
Oakland CA was the kickoff city for Talk Read Sing last summer. Billboards on freeways and bus shelters still invite parents, in English and Spanish, to talk with their children through playful slogans: “Let’s talk about the bus” or “Let’s talk about the weather.” Bibs and towels distributed in our libraries and elsewhere: “Let’s talk about food” and “Let’s talk about bath time.” The branding and creative assets produced by the campaign are available to libraries and other organizations who register at Too Small to Fail’s Community site.
Here, the coordinated distribution of free materials was managed by First 5 Alameda County, in partnership with many organizations (including OPL) involved in Oakland Reads 2020, a community in the National Campaign for Grade Level Reading. The Talk Read Sing campaign is a natural strategy for school readiness, and works seamlessly within Grade Level Reading campaigns.
Our rollout meetings provided a perfect opportunity for me to share our own OPL “Talk Sing Read Write Play” brochures, which we developed from the ECRR2 curriculum. Despite the fact that ECRR2 promotes two additional elements, the message is clearly the same, and partners were thrilled to have local materials to weave into the campaign. Boom: our library brochures went city wide.
If you have a Grade Level Reading Community or a functioning literacy collation, you have the perfect network to build a Talk Read Sing campaign in your community. Introduce yourself as a partner who can help engage parents around teaching behaviors that will help everyone meet common goals for early literacy. And if you don’t have such a network yet, this campaign is the perfect carrot to get one going. See SPFL’s Christy Estrovitz’s presentation “Inspired Collaborations” for some tips.
For the public overview of the campaign, including free resources: http://talkingisteaching.org/
For the community campaigning materials, register at: http://toosmall.org/community
And find out more at ALA Annual, Sunday June 28 from 1-2pm, at Babies Need Words Every Day: Bridging the Word Gap as a Community
Our guest blogger today is Nina Lindsay, Children’s Services Coordinator at the Oakland Public Library, CA, who talks, reads, and—yes!—sings, every day.
The post Every Child Ready to… Talk Read Sing!: Partnership in Action appeared first on ALSC Blog.Add a Comment
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