How to use this Page

The viking image has changed dramatically over the centuries, romanticized in the 18th and 19 century, they are now alternatively portrayed as savage and violent heathens or adventurous explorers. Stereotypes and clichés are rampant in popular culture and vikings and their influence appear to various extents, from Wagner's Ring Cycle to the comic Hägar the Horrible, and J.R.R Tolkien's Lord of the Rings to Marvel's Thor. But what is actually true? Eleanor Barraclough lifts the lid on ten common viking myths.

The post 10 myths about the vikings appeared first on OUPblog.

Greetings, sales charts fans! It's time once again to look at Image Comics' sales figures.

Saga takes a tumble!

A new year, a new Image of you.

I've been reading a lot of comics this summer, and it's the greatest.

I just finished Ms. Marvel Vol. 3: Crushed and the series continues to be fun, as was Rat Queens Volume 2: The Far Reaching Tentacles of N'Rygoth. I love to read about girls kicking ass! (See also, Nimona) One thing I really appreciate about Rat Queens and Nimona is that it's fantasy kick-ass fun, but there's underlying basis of pain. It's not always there or the focus of the narrative, but it bubbles up to color the story in a way that's really compelling. (Plus, now I have an excuse to yell I'M A SHARK! and see who laughs--new bestie test)

Oh, and I also read Lumberjanes which I loved for it's kick-ass girls and silliness, but also its friendship and their long-suffering camp counselor. I love these girls as an ensemble and their relationships. FRIENDSHIP TO THE MAX for reals.


Also in ongoing series... Fables Vol. 22: Farewell happened. The final Fairest, Fairest Vol. 5: The Clamour for Glamour comes out on Tuesday, but Fables is done. This is the series that turned me onto comics and my feelings about it ending are so bittersweet. I'm going to miss these characters and their stories and their lives and how Willingham played with meta-fiction and what happens when you put fictional characters in the real world. At the same time, the final volume was wonderful. I think it was a fitting tribute and end to the series and, in many ways, it was a farewell. It wrapped up the narrative arc nicely, left some loose ends, but not ones that will drive me batty, and let the characters say goodbye (sometimes very literally). I have been nervous lately because the last few volumes have been a bit of a blood bath, and there is some of that here, too, but... it's good. It's really, really good. My only complaint is that it's done and I very selfishly want more, more, more, more. (Also, I asked my friends at Secret Stacks what I should read to fill the Fables void, and they got Bill Willingham himself to answer and zomg.)

But also, I've been reading some new series!

I read the entirety of Y: The Last Man because Bellwether Friends did an episode about it. I am in love with Saga (which was also a Bellwether recommendation) which is also by Brian K Vaughn, so I thought I'd pick up all the Y before listening to their episode, so I'd be able to better understand. Y is the story of what happens when suddenly, all males (human and animal) drop dead. Except for Yorick and his monkey Ampersand. Science and governments want Yorick, but he just wants to get from New York to Australia where his girlfriend-maybe-fiance was when the gender-cide hit, but it also explores what happens when a gender dies. You get radical feminist movement burning sperm banks, countries that had higher gender equality do better than those who had more men in charge, and also a lot of people in deep morning. Plus little things-- it hit at rush hour so a lot of the highways are clogged with cars and what do you do with that many dead bodies? It was really interesting and good. I like the way it explored the different aspects of this new world as well as all the different theories people had for what caused it. (People have feelings about the ending. It wasn't the ending I necessarily wanted, but I think it was good for the story, if that makes sense. Fangirl Jennie was "eh" but literary critic Jennie was "oh, yes.") Also, let's talk Saga. I've read the four volumes that are out now and so good. It's about love and family and survival against the backdrop of intergalactic war! And their nanny is a ghost. (Basically, star-crossed lovers from opposite sides of this inter-galactic war have a kid and everyone wants them dead because there can't be proof that the two sides can get along and all they want to do is live and survive as a family, but always running puts strain on a relationship!) Also, let's just talk about how the romance novels are also political tracts wrapped in love story, because a romance reader, YES. There is meaning and metaphor and all the other trappings of HIGH LITERATURE in romance (and really, all genre) but it gets written off so often, but not here. That warms my heart.

I've also picked up the first four volumes of East of West. It's this story of a futuristic alternate history US where the country's fractured into several other countries and there's a religious cult and Four Horseman of the Apocalypse are reborn, except for Death, because he's left them for love and it all ties back to this religious cult and a prophesy and it's weird and not quite my usual thing, but really good at the same time.

Also for something amazing, but a little different than my usual fare, Secret Stacks also recommended I check out Pretty Deadly which is also about Death falling in love with a person. But this time it's Death's Daughter who's riding for revenge. And there's a girl in a feather cape and old man who travel from town to town to tell her story. It's hauntingly surreal and I cannot wait for more. (Please tell me there's more!)

What comics are you reading?


Books Provided by... my local library, except for Fables, which I bought.

Links to Amazon are an affiliate link. You can help support Biblio File by purchasing any item (not just the one linked to!) through these links. Read my full disclosure statement.

Every Friday, Alex counts down the top five panels & sequences in comics released this week.  

This week was fantastic, featuring some really outlandish scenes, comedic throwbacks to classic Batman, and a moment that made me laugh, gasp, and shout in awe.  I might have peed myself a little with glee.

Spoilers follow, obviously.

5) Spider-Gwen #5

Spidey senses take on hyper-aware-blind-man-senses and produce a colorful spectrum of bloody awesome

4) Batman #41

Series artist Greg Capullo and writer Scott Snyder are two of the most outspoken critics of the half-page Twix ads running throughout DC books this month:

I had to step way out of my more cartoony comfort zone to do this panel. Hindsight, I should’ve left it out pic.twitter.com/T8goKucsfm

— Greg Capullo (@GregCapullo) June 10, 2015

They’re very proud of themselves.

3) Chrononauts #4

drool…

2) All Star Section Eight #1

AH, I WONDERED WHICH WOULD BREAK FIRST!

1) Saga #29

When I saw this on the bottom right of a page, I knew I was going to have an aneurysm…

and I totally did.

Comics, right?  

What are you favorite moments this week?  Comment below or tweet @waxenwings

You know how I’ve been writing contemporary all these years?

I’ve secretly always been a medieval warrior girl in my heart.

Time to see what that’s all about.

One rash act: anything to finally protect herself from her mother’s abuse.

One rash act: and young Bradamante unlocks a future where she’s destined to become a warrior.

With the help of a mystical teacher, Bradamante and her brother Rinaldo learn the skills they’ll need to survive in a brutal kingdom. They’ll also learn that destiny can demand giving up the one that you love.

Loyalty and betrayal, danger and triumph, the magic of mystics—

The Bradamante saga begins.

BOOK OF EARTH, coming February 14, 2015. It’s my Valentine’s Day present to you.

You can pre-order it for the special price of $2.99 from:
Kindle
iBooks
Kobo
Barnes & Noble (link to come)
Scribd (link to come)
Page Foundry (link to come)

Want to know more? Read the opening chapters here.

§ Rat Queens artist and co-creator Roc Upchurch was arrested last month on charges of assault and battery against his wife, who posted an account on a blog and then removed it.  It’s a sad familiar tale, but hasn’t gotten that much attention among comics folk. Sometimes we just don’t know what to do when one of our own transgresses. Women Write About Comics’ Megan Purdy also received information about the assult and the arrest  and offers some very important perspective:

Many have suggested that the arrest is a private matter, and that his ex-wife’s more extensive allegations have the potential to ruin Upchurch’s career. But domestic violence is not a private matter — it’s a criminal one — and rare is the man’s career that has been ruined by it. Upchurch stands to lose little from our merely speaking about an arrest that hasn’t been further pursued. Rat Queens, remember, is a creator-owned book published by Image, and it has been hailed as a breath of fresh air, a genuinely and breezily feminist comic, around which Kurt Wiebe and Upchurch have been a vibrant and supportive community. That community is unlikely to suddenly disappear in the wake of this news. Some readers may stand to lose more, though, should we shy from reporting the matter honestly — they may lose whatever sense of safety and trust they have found among us.

We must not shy away from reporting unpleasant facts.

We must not cultivate a culture of silence and polite withdrawal.

As I said, there is often foot shuffling about these matters, but bringing them to light is often the surest way to begin recovery for all involved.

And now back to more trivial matters.

§ That big Saga hardcover with extras is just out and Brian K. Vaughan offers the potential problems with the breast-feeding cover: 

Anyway, Eric Stephenson was concerned that we might be limiting our audience with this kind of cover, and we had a lot of back and forth with him until he finally said, “You guys know I’m not your boss, right? You can do anything you want at Image, I just wanted you to be aware of the climate out there.” Which is one of the countless reasons why Image is the best publisher in the world. And to Eric’s credit, as soon as he saw Fiona’s gorgeous execution of our cover idea, his response was the same as mine: “However many of these we print, it’s not gonna be enough.”

Thankfully, retailers have been equally supportive, and we haven’t had a single complaint. Sounds like one national book chain is even going to feature the hardcover at the front of their stores for the holiday season, so we’re enormously grateful for everybody’s approval of horned babies and milk-engorged boobs.

§ Did you know that New Yorker cartoon editor Robert Mankoff stars in a video series called The Cartoon Lounge?  In the above episode Mankoff fiddles with his gizmos.

§ DC Comics is suing the Valencia football (soccer to Usains) club because their traditional “bat logo” has been altered in such a way as to resemble Batman’s.  Valencia has included a bat in the logo since 1919 so this is hardly a new thing. Another local team, Levante, also has a bat in their logo because apparently, Valencians are in love with bats:

The symbol of the bat has a long history with Valencia that dates back to the 13th century when the region was conquered by King James I of Aragon who added the image of the bat to his coat of arms as a symbol of good luck. Bats are common in the region of Valencia and the Balearic Islands and the coat of arms of the city of Valencia still features a bat.

Perhaps DC should send Bruce Wayne to team up with these guys instead—it seems they are all on the same side.

§  A new Egyptian comic called Shakmagia or “ewlery Box” includes comics focusing on the problems with sexual harassment and volence in Egypt.  The link includes a history of Egyptians political cartoons which go back 100 years.

§ Cinemax’s pilot for Outcast,the Kirkman/Azaeta comics  has been cast. 

Rounding out the cast is an ensemble of season television and film actors, The Hollywood Reporter notes, many of whom who have starred in recent television hits. The cast include Patrick Fugit (Gone Girl), Philip Glenister (Big School), Reg E. Cathy (House of Cards), Julia Crockett (Law & Order: Criminal Intent), Wrenn Schmidt (Boardwalk Empire, and Kip Pardue (Ray Donovan).

 

§ Acclaimed cartoonist Kevin Huizenga has updated his activities. Haven’t really seen much from him of late which is sad, but Ganges will continue with a new issue out next spring. YAY.

§ Noah Berlatsky has his own book on Wonder Woman coming out next year, and some thoughts on the current Jill Lepore book: 

That issue is…the title, and in many ways the thesis of the book, are misleading. Lepore presents the Marston family history of polyamory, and therefore the connection between Wonder Woman creator William Marston and his lover Olive Byrne’s aunt Margaret Sanger, as unknown. If this was the first book you’d ever read about Marston and Wonder Woman, I think you’d come away with the impression that Lepore is the first one to reveal that Marston and his wife Elizabeth lived in a polyamorous relationship with another woman (Olive Byrne).

Navigating monthly orders is a bone-numbing pain. I feel as though this is something I write a variation of in most of these columns. The sensation clearly remains. It’s a thankless process that rarely ends happily, with hundreds of order codes to run through and thousands of bits of data to think of. In the end, you will always mess up on several orders. You’ll discover this months down the line when you’re staring at empty shelf slots a couple hours into new comic book day or a section choked with product on the following Tuesday. At best, you can use your knowledge to mitigate any huge losses, and come out winning more often than you lose – but you’ll still lose, and you’ll still lose often.

How’s that for a cold open?

A bit wary about placing the order for THEY’RE NOT LIKE US. Stephenson’s trackrecord as publisher? Great. Creater? Terrible at deadlines.

— Brandon Schatz (@soupytoasterson) October 20, 2014

When I was going through last month’s Previews, I ran straight into the listing for Eric Stephenson and Simon Gane’s They’re Not Like Us and immediately took the internet to drop some misspelled opinions. I had been looking over the solicitation for a month at that point, and had been wondering what I was going to do when the time came to punch in some numbers. Over the course of the month, I waited for an interview to pop up regarding the book so that I’d have a little bit more to go on than what was in the solicitation. Nothing was forthcoming, so as I stared at the listing, I went through the contents of my gut to see what it thought.

I knew that the series would be good – or at least, would be a book that would appeal to me. I was familiar with Stephenson’s work through Nowhere Men and Long Hot Summer and was a fan. Gane, I knew from projects like The Vinyl Underground and Paris, and knew him to be an amazing draftsman. There was preview art and a cover that boasted contributions from the amazing Jordie Bellaire and Fonografiks with the promise that both would be a part of the series. These were all things that filled me with confidence in my ability to move this book, and gave me a vague idea as to the audience that I would be aiming for with it. I was also clearly worried about the book’s schedule, and how it would effect the sales and interest in the series.

As much as I liked (and like) Stephenson as a writer, my internal notes were telling me that this was a series that probably wouldn’t ship on time. I was basing this purely on the track record of his most recent series, Nowhere Men, which started off with a strong opening (both critically and sales-wise) before petering off into obscurity as the book slid further and further off schedule. By the time the sixth issue shipped, my sales were but a fraction of what I had started with for all of the usual reasons. Some took the waiting period as a sign that they should give up on the singles and wait for the collections. Others forgot about the book’s existence and plot and decided to leave it on the shelf when it finally arrived. Still more pulled it out of their budgeting calculations as other books moved in to fill the gap. The result had clearly left a bad taste in my mouth, one that led to my ordering dilemma.

Now I should note, shortly after sending the tweet out into the wild, I was greeted with a chorus that pointed to a google document Nowhere Men artist Nate Bellegarde had posted claiming full responsibility for the delays. I had not seen this, and plugging around the comics internet digs up very few news sites that actually linked to the information. This is unfortunately the fate of late books – no matter the reason (and Nate in particular had and has some very good reasons for the book’s disappearance), lateness results in disinterest, and disinterest results in lower sales. This, of course, translates to a hesitance on the part of a retailer in ordering a creator’s new books, which brings us back to the main point.

Armed with some incomplete information, I was ready to place an order far lower than I normally would for a book I think people are going to enjoy. The reverberating effects of this notion are quite wide-ranging. For example, I’m a guy who regularly checks comic book news sites, and has built up a network of folks who are ready to hand me some extra information should the situation require it. I’m not the norm when it comes to retailing. Others are just going to go on the information they have at hand – the concept, the names of the creators, and their past performance in store. More still won’t even order based on that – they’ll just plug in a token “Image number” brush their hands off, and call it a day without a second thought.

Going out from there, you’ll have readers who are similarly minded, who will see Eric Stephenson’s name, and assume that this title will be late before it’s even had a chance to prove itself. While many of you reading this article are the type to keep up on this kind of information, the majority of people buying comics at comic shops are very passive in their extracurricular consumption, opting to just read the comics as they come in without dipping their toes into the minutiae of it all. Most of these people will be getting information about this series from aforementioned retailers who don’t have a view of the bigger picture, and this might honestly result in middling sales for the series – at least to start. If memory serves, Nowhere Men was a series that was severely under ordered, and the quality of it pushed it through several printings of almost every single issue. This could very well be the case for They’re Not Like Us, and it could have quite healthy sales through to the end of its run, which would be nice – but regardless, damage will be done. People will go into shops and come up short – and while we’re living in a wonderful age where you’d be able to go to Image directly and nab a DRM-free digital copy, sales will still be lost in the transition – and that’s a problem. Hopefully, in this case, a very small one.

A regular schedule is key in terms of the success of a series, and of a creator. The comic market is littered with the corpses of books that launched strong, but flagged as delays hit. While some launch strong enough to weather the storm through to the end, nearly all of them proceed with a smaller audience. If the delays persist, the numbers will continue to shed at an accelerated rate along side of it, resulting in a monetary lesser for all those involved. Take a look at any sales chart, and find any book that has hit a patch of delays, and you will inevitably see the pattern. While there are some exceptions (there always are) the vast majority of books shipping on a delayed schedule lose readers at an equal pace. Books that don’t ship don’t fit into a store or a reader’s budget as well as books that show up as promised. Moreso, books that don’t ship stop being part of the conversation. Less is said about the story and more about the delays, until that becomes the story. People become okay with waiting, and so they do. Waiting breeds forgetfulness, and forgetfulness breeds death. The cycle continues, on and on.

If you’re in the business of producing comics, the most important thing you can do is hit your deadlines. Even a bi-monthly schedule is better than a promised monthly that doesn’t ship. The ideal, I think, is the <em>Saga</em> model, wherein you ship an arc on a monthly basis, delivering on the due date as promised on time, every time. In between the arcs, you can take a break. Let readers stew with a cliffhanger, and release your trade so stragglers can catch up. Offer retailers the chance to breath, sell a trade, and build up your audience. Come back guns blazing with another arc that comes out consistently. Because while delays within a story arc will kill you, delays between arcs will not. People are trained to deal with these gaps. Most serial media consumed thrives on gaps building pressure and audience in the interim. That’s the reason why sequels are a better bet to make money than a movie’s initial release. Come out with a good product, give the people an experience that has them clawing for more, and then let them wait. Let them stew. Time things right, and you can keep getting bigger and bigger. Start screwing up with your deadlines, and you’ll start to see that intensity and momentum dry up and fall away.

Almost definitely what I’m talking about right now.

As the publisher of Image Comics, I’m sure Eric Stephenson already knows all of this information. He has enough sales data at his finger tips to know how delays effect a book, and how the model Saga has been running on is the ideal. It’s the way Jim Zub has been running things with Skullkickers from the start of his run, and each time his book has come back, sales have gotten stronger and stronger. It’s the way Antony Johnston has started running Umbral and The Fuse, and while I think it’s a little too early to say much about what those books are doing as a whole, I can say that the schedule has done well for his books in my store particularly. It’s a smart way to run a series, and honestly, I think it should be adopted by the industry in general. I honestly believe that instead of shipping books like Batman and Amazing Spider-Man on a never ending schedule, building in tangible breaks can do wonders. I worked a version of this when DC decided to soft launch a few of their books this October after building in a glorified skip-month in September. The results? I’ve sold twice the amount of Catwoman and three times the amount of Batgirl than what I did in August. Green Arrow admittedly stayed the same, but considering the fact that the title was coming off a run that was so indelibly tied to the previous creative team more than the character (at least in my shop), that’s not a small feat, as loss roughly equalled gain. In that particular case, DC would have done better pushing a publication gap for a couple of months before a big return. Sure, they would have missed timing the launch with the return of the Arrow television show, but in the end, the title would have been all the better for it.

Consistent shipping will do almost as much for a book as its perceived quality will. While a quality book can get by with delays, the results will almost always be lesser for it – at least in terms of periodical sales. For a perceived mediocre book, delays will result in death. Readers will stick with something if it comes out regularly, and they’ll stick around even longer if you can hit that final note and give them something to ponder over a break – but give them the slightest excuse to walk away, and they will, even if it’s a book they enjoy. Retailers, for their part, will always react to this, and they’ll carry a perception around as a result. They’re Not Like Us is a series that’s going to have perception working against it from the start, even though the creators have yet to do anything to truly earn that. It’s unfortunate, but in a business where the people ordering books are sifting through information for over 2500 listings a month, it is what it is.

Hit your marks. You’ll be glad you did.

It’s been a while (5 years)  since we looked at Diamond’s monthly backlist chart, and now, as then, it reveals a VERY DIFFERENT ranking for publishers. In the backlist, DC is king by a wide margin, with about 30% of the market. Marvel is only a tich above Image in units, while Image books dominate the top ten with Saga, Walking Dead, and Sex Criminals. On the manga side, Attack on Titan rules, no surprise given the way it’s single handedly revitalized the category.

Backlist charts reflect perennial graphic novel sellers that sell out over time rather than the more volatile monthly periodicals. It’s also a source of steady income for publishers; once you get ahit on the backlist you just sit back and fill order.

Marvel actually charts with a bunch of Deadpool books, and DC has fewer tites, mostly Batman. Why the discrepancy? While I’ll have to investigate the chart more fully in months to come, its no secret that DC has the most well developed backlist of any publisher. Although they aren’t showing up in this particular chart, I’d guess that classics like Watchmen, Frank Miller, Neil Gaiman, and the ongoing New 52 program is doing very well. They are much more focused on this particular channel.

It’s interesting to see Marvel books here given all their well documented problems keeping books in print. Thanks to Diamond for permission to reprint this information.

SEPTEMBER 2014 BACKLIST MARKET SHARES

Larger Versions Dollar / Unit

SEPTEMBER 2014 BACKLIST TOP SELLERS

By David Nieves

On SDCC Friday, after a rousing Brian K Vaughan one man show, Saga co-creator Fiona Staples took the room stage for an hour of career and advice for young artists in her own spotlight. Fiona’s time was led by Jennifer de Guzman director of Image Comics Trade Book Sales.

Fiona’s introduction read like a hall of fame induction ceremony. It felt as though the entire hour could just be a reading of everything the artist has accomplished in her career. After the accolades, the ladies jumped into Staples discography of comics beginning with a 24hr comic challenge she did alongside other would be comic makers in a mall food court. Her first professional work was a horror story in 2006 called Done to Death. The book would later be republished through IDW. Her Wildstorm work was touched on and through her early journey it was clear to see how her style has evolved through the artist’s unique lens, particularly seeing a decline of lines contrasted with a rise in her painted style. She credited a time spent in the UK with friend Frazer Irving for teaching her how digital can be used to create “beautiful organic work that doesn’t necessarily look digital.” Of course no Fiona career retrospective would be complete without talking about Saga.

She told the story of being introduced to Brian K Vaughan. Instrumental in getting the two together was acclaimed comics writer Steve Niles. He pointed Vaughan in Staples direction and she received an e-mail from BKV that included the elevator pitch, ” a family wrapped in a space opera.” This would be her first book that would be longer than six issues. When she asked Brian how long he wanted to do the book his answer was, “I want to do it forever.” Fiona Staples would clear her schedule for the rest of her life and we’re all better for it.

One of the most interesting tidbits from behind the scenes of Saga is that Staples reads every script as a fan. She knows very little ahead of time and it shows in the pages she draws. Every reaction we get from a monthly issue is her reaction to BKV’s words. It really is almost like Vaughan writes the book just for Fiona and we’re all along for the ride.

On the screen was her process for doing a page of Saga beginning with very light penciled layouts using photo references that she takes on her laptop, then inking and digital painting. She looks through a tremendous amount of photos to select just the right colors for every scene she paints. With some of the off the wall character death and sex scenes you’d imagine there’s some pretty hilarious photo reference, and there is but it will never see the light of day according to Staples.

Fan questions ran the gamut from the simplicity of her favorite color to the complexity of education in the arts. For the traditionalist out there, Fiona still loves to draw with the hand tools of the trade, but in her view it isn’t the most efficient way to finish a monthly comic. On the topic of the controversies that come about seemingly every issue of Saga. The duo acknowledge what could cause controversy when planning a story arc but always seem to ignore it if the story would be altered in any way.  Her view on traditional cape comics was quite unexpected. Fiona doesn’t have much of desire to do any of the most popular characters, but instead would do a character like Deadman.

The panel closed out with what we can expect from the next few issues of Saga. She teased the crowd by saying ” heartbreak and some jokes.”

When you looked at that large stage with just Fiona and Jennifer, you indeed see the greatest artist of her generation. If you take all her words, mannerisms, and bright smile you see the strength of her artistic desires but also a vulnerability that’s prevalent in Hazel’s story within the pages of Saga. When we look at Fiona Staples, we’re looking at the imagination and vision that will no doubt leave her branded an icon in the comic book industry, but to hear her speak so softly and humbly about her experiences endears the artist to you on an entirely new level.

You can pick up Saga every month and read the random thoughts of Fiona Staples on twitter.

by Zachary Clemente

There’s something special about Image’s book Saga. You know it, I know it, the people who voted for the Eisner awards know it – heck, my mom knows it! On Saturday of SDCC ’14, Image Comics Publisher Eric Stephenson sat down with co-creators Brian K. Vaughan and Fiona Staples to discuss their out-of-control success of a book, winner of four Eisner awards the day previous.

It was clear that Stephenson, who also edits Saga, had a set of specific questions that he knew would be interesting topics to discuss – keeping the panel at a good pace and setting an example for the sort of questions would illicit responses beyond a yes, no, or “I can’t talk about that”. He started off asking about how the book’s production has changed in the past 18 months or so, after they wrapped their first 6 issues.

Vaughan picked this up, saying that he’s learned that his job as writer has been to get out of Staples’ way as the artist. Interesting, this is exactly the approach writer Matt Fraction has with artist David Aja, to much success. Jokingly, they said that the amount of work Staples now does is much higher while Vaughan “has just gotten lazier – that’s the evolution!” In truth, however, as they’ve becoming more comfortable and confident working with each other, Vaughan has been able to really step back to showcase Staples’ ability to visualize the narrative in such a marvelous fashion.

Stephenson got them to discuss their approach to the covers of the book and the work their design and lettering collaborator, Fonographiks (aka Steven Finch). Both Staples and Vaughan are huge fans of the aesthetic of Kubrick’s 2001 and therefore found appeal with a clean style born out of a modern and minimalist approach – a character or two on top of a single color as a constant motif. For the title logo itself, they found it extremely important for it to be subdued, wanting to steer clear of the loud logos many readers are used to seeing. Instead, they wanted the logo to have an inviting and warm sensibility, welcoming readers to pick up the issues. Vaughan went on to discuss the importance of having the comics say “Chapter” instead of “Issue” on the cover and how having full control over every aspect of the book’s design was so liberating as situations like “when an ad for a goddamn Snickers bar comes in and ruins your dramatic scene” just aren’t a reality at Image.

Though a question on many a-reader’s tongue, Stephenson asked Vaughan on his stance of killing off characters in way that has gotten his work compared to the likes of George R.R. Martin or Joss Whedon.

Do I feel bad about murdering people? – Brian K. Vaughan

Vaughan first picked up the question reminding us that characters in fiction not ever dying is a recent phenomenon, as large corporations are built on top of legacies of beloved characters and the enduring support they get from fans allows them to continue – those characters just can’t die. He then goes into how Saga is kind of a way for him address anxiousness of life, fictional or otherwise, stating that “we read this stuff to prepare us for the worst.”

We’re all going to die terribly, so read our comic book! – Brian K. Vaughan

Staples and Vaughan were keen to remind the audience that Saga is fully and truly all about Hazel and though she is just a child now, she will grow and while her parents, arguably the current protagonists, are very important now – they may not be later. With that, they revealed the cover art for the first hardcover, collecting what Vaughan and Staples consider to be the first chapter of the series – issues 1-18 or trade volumes 1-3.

The cover, with a very prominent close-up of Hazel breastfeeding from Alana is a clear response to the backlash the book received when the first cover was revealed – showing the young couple with child to Alana’s breast. They had this to say on the subject:

Just doubling-down on our breastfeeding stance, aren’t we? – Fiona Staples

Some stores won’t even rack the first volume because the breast-feeding is controversial, but…fuck them. – Brian K. Vaughan

The panel was then opened up to Q&A from the audience. Most questions pertained to the plot, the possibilities of merchandise such as shirts, toys, plush dolls, and the alike – most of which were given expected answers of uncertainty. There will not be another run of the Lying Cat shirts, but they are not opposed to high-quality merchandise.

Additionally, when asked about their feelings of the possibility of an adaptation into another medium such as film or television Brian explained, not for the first time, that though he has worked in both other industries, he finds comics to be the vastly superior medium – though would not be opposed if they received an offer they just couldn’t say no to. Staples eagerly suggested, when queried, that the best game adaptation would be a Dungeons & Dragons styled tabletop roleplaying game to much applause.

One attendee brought up a point that’s been stewing in at least my head, which is the apparent and thorough multiculturalism represented in Saga. Vaughan honestly answered that it’s something he has to be keenly cognizant of as, when first writing the book, it took him a while to realize that “white” didn’t have to be the default. Apparently, when designing Alana, he told Staples that she shouldn’t be a red-head as “there are a glut of red-heads right now.” When she responded with “you know, she doesn’t have to be white,” he let out a defeated and embarrassed “oh…right.”

Another attendee brought up the page in issue 14, where lying cat devastated a whole readership in one day.

While they approached this page like any other, Vaughan used this to discuss how, as a child, he found the iconic Slave Leia costume featured in Star Wars not sexy, but subjugated. His distaste for it is apparent with his wish to attempt to portray more realistic situations when war affects civilian life. I personally find this a fantastic stance on the subject and deeply appreciate that he’s coming from this sort of perspective.

Why do the robot people have dicks and stuff? – The next Attendee

The person asking this question did preface it with the fact that it was less touching. It did, however launch the duo into a discussion of soft sci-fi and how Saga is a romantic drama, wrapped in the trappings of a space epic.

Lastly, it was revealed that one of the main reasons that much of the technology in this book isn’t necessary metal spaceships and laser guns is because Staples doesn’t really enjoy drawing any of that – so Vaughan had to compensate, all for the better.

Overall, this was a Saga fan’s dream come true. Vaughan and Staples were receptive, amiable and inviting. They clearly have a spectacular rapport that’s equal parts professional and loving – they’ve put everything and more they have into this book and it clearly shows. As a fan, I’m loving it and as someone deeply invested in seeing comics grow and evolve, I’m in for the long haul. Thanks to Eric Stephenson for moderating with a charming ease, keeping the flow casual and friendly.

The Hugo Award nominations, which honor the best in science fiction, were announced over the weekend, and the graphic story nominees are

BEST GRAPHIC STORY (552 ballots)
Girl Genius, Volume 13: Agatha Heterodyne & The Sleeping City written by Phil and Kaja Foglio; art by Phil Foglio; colors by Cheyenne Wright (Airship Entertainment)
“The Girl Who Loved Doctor Who” written by Paul Cornell, illustrated by Jimmy Broxton (Doctor Who Special 2013, IDW)
The Meathouse Man adapted from the story by George R.R. Martin and illustrated by Raya Golden (Jet City Comics)
Saga, Volume 2 written by Brian K. Vaughan, illustrated by Fiona Staples (Image Comics )

“Time” by Randall Munroe (XKCD)

This is a little interesting, since The Foglio book won the first few times this category was added to the Hugos and I think they had informally pulled out or something – but no, they are back! Saga Volume 1 won the award last year. I’m glad to see Munroe’s immense Time nominated as it is one of the most daring and unique comics-related achievements of the last 12 months.

Some other comics germane categories:

BEST PROFESSIONAL ARTIST (624 ballots)
Galen Dara

Julie Dillon

Daniel Dos Santos

John Harris

John Picacio

Fiona Staples

BEST FAN ARTIST (316 ballots)
Brad W. Foster

Mandie Manzano

Spring Schoenhuth

Steve Stiles

Sarah Webb

BEST DRAMATIC PRESENTATION (LONG FORM) (995 ballots)
Frozen screenplay by Jennifer Lee, directed by Chris Buck & Jennifer Lee (Walt Disney Studios)

Gravity written by Alfonso Cuarón & Jonás Cuarón, directed by Alfonso Cuarón (Esperanto Filmoj; Heyday Films; Warner Bros.)

The Hunger Games: Catching Fire screenplay by Simon Beaufoy & Michael Arndt, directed by Francis Lawrence (Color Force; Lionsgate)

Iron Man 3 screenplay by Drew Pearce & Shane Black, directed by Shane Black (Marvel Studios; DMG Entertainment; Paramount Pictures)

Pacific Rim screenplay by Travis Beacham & Guillermo del Toro, directed by Guillermo del Toro (Legendary Pictures, Warner Bros., Disney Double Dare You)

And in the Hugo Controversy category, after avowed feminist Jonathan Ross was publically bounced as host of the Hugos (held this year in London), the avowed racist/misogynist Vox Day was nominated for best short story. You win some, you lose some.

Hello readers! I have another WOW! Women On Writing blog tour to participate in today. If you missed yesterday’s review and giveaway of BEYOND BELIEF: The Secret Lives of Women in Extreme Religions, go to it now!

Today, I am hosting Elaine Drennon Little, and her novel from WiDo Publishing, A Southern Place. This is a terrific,  heart-wrenching novel–it’s being billed as a southern saga.

Read my review and then enter to win a copy of the book through the Rafflecopter form below! This is the last stop of the tour AND the last chance to win. Plus, check on the entry form for a special FRIDAY THE 13th entry!! (Insert scary music here. . .)

Elaine Drennon Little introduces readers to a dysfunctional family full of misunderstood souls in her debut novel, A Southern Place. The pages of Little’s novel are filled with characters readers will feel like they could reach out and hug—that’s how much detail and work this talented author put into her first book. It’s a character-driven ride, mostly through the late 1950’s South, focusing on hard-working, proud individuals who can’t catch a break.

Little chose to tell the story through the eyes of five characters, and this is where the strength in the book lies. When the novel opens with Mojo, the youngest of the cast, beaten almost to death and in the hospital in the late 1980s, the sheriff reveals how awful her background is and how she really hasn’t got anybody left in the world. Readers will be forming an opinion on Mojo’s family before finishing that beginning section; but as the author spends the majority of the book in the point of view of Mojo’s mother, uncle, and father (whom she doesn’t know), opinions will soon change. That’s the beauty of Little’s first novel—she drives home the point that appearances are not always the truth; life is seldom what it seems. No one knows what happens behind closed doors.

Once Little flashes back to the past to the late 1950s, readers meet Phil (Mojo’s daddy, even though it’s a huge secret), a rich kid whose learning disabilities are an embarrassment to his successful and powerful father. Calvin, Mojo’s uncle, works on Phil’s daddy’s plantation, and is well-respected—that is until a farming accident leaves him with a hook instead of a hand. Then, there’s Delores, Calvin’s younger sister and Mojo’s mama. She, like Mojo, is a good, kind woman who just wants to take care of her family and do the right thing. She’s willing to take just about any job she can and lend an ear to any poor soul. This is how she gets together with Phil, starting a short and passionate affair.

Once all the pieces of the plot are in motion, Little alternates point of view between the three main characters, showing readers how one choice can lead to a life full of heartache. Sometimes, though, the characters’ misfortune isn’t a result of their own choices, like when Cal is involved in the farming accident. If readers are a fan of Les Miserables, they may be reminded a bit of this classic novel while reading A Southern Place. Not because it takes place in 19th century France, but because these Georgian 20th century characters are down on their luck and often wind up in poverty and sickness.

Little grew up on a farm in southern Georgia, where much of her novel is set. She taught music for 27 years in public school and graduated with an MFA in 2008. She currently lives in northern Georgia with her husband, and she blogs at http:// elainedrennonlittle.wordpress.com/.

When the novel ends, readers have a real understanding of how the beginning could happen—just how did young, innocent Mojo wind up beaten to a pulp in the hospital? Little brings the plot full circle and even ends with a bit of hope. This Southern saga is sure to leave readers wanting more from Little soon.

Fill out the Rafflecopter form below for your chance to win!

a Rafflecopter giveaway

In the annals of “very safe predictions” the idea that the first collection of Saga is going to sell very well is right up there. The book—collecting the first six issues of the science fiction drama by Brian K. Vaughan and Fiona Staples—isn’t out until October 23rd, but its certain to get a whole new audience for the book. Not that it’s been lacking an audience: the first issue already has already sold over 70,000 copies in various printings. And a low $9.99 price tag makes the barrier to entry pretty low.

And once people jump that barrier they get into a sweeping, addictive story—a galaxy spanning tale of empires and mercenaries and ghosts all after a couple and their newborn infant—has gotten readers hooked. SAGA is taking a little break when the collection comes out, and creator Vaughan was kind enough to share a few thoughts on the schedule and how the first six issues have gone:

THE BEAT: The Saga collection is out in October — how did you arrive at the $9.99 price tag, which is really on the cheaper end of the spectrum for an Image book. Is this cutting into your revenue stream?

BKV: I don’t know, I guess $9.99 seemed like a pretty fair price for the introductory volume of a new series.  Maybe it will cut into our revenue stream, but I’m more interested in getting our story into as many hands as possible than in wringing as much cash as we can out of folks.

Fiona and I would probably be making more money in the short term if we filled the monthly book with annoying ads, or cut the page count down to 20, or charged $3.99 instead of $2.99, but I like to think that giving people more for less buys us a lot of valuable reader loyalty in the long run.

THE BEAT: Will there be any bonus material? I know you WON’T be reprinting the long letters pages?

BKV: No bonus material, you greedy bastards!  Just 160+ pages of astounding Fiona Staples art for less than the cost of a single movie ticket.  That’s all six chapters, including our double-sized debut, unsullied by the presence of my dopey letter column, which is just for our fellow monthly travelers.  Please buy lots.

THE BEAT: How long will the gap for the monthly issues be? Do you think this is going to be the regular publishing schedule for SAGA — six issues and a trade and a break?

BKV: Just two months off!  September is a skip month, trade comes out in October, and we return monthly with Chapter Seven in November.  I understand that brief hiat