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Archives for 06/16/2010 10:46 pm
This week: Boom! Studios dives into digital-distribution breach; more on green, pink and blue people and race in comics; Marvel and DC Comics advertisement behemoths for September; the clunkiness of Ex Machina; and a troika of must-read Grant Morrison reprints.
Matt Fraction and Gabrial Bá’s stylish espionage thriller Casanova is coming back this July from Icon, Marvel’s creator-owned imprint, after a long hiatus. Previously published in a limited palette at Image, this newly remastered version is now in full color. Marvel sent out some preview pages of the this morning and it looks a-okay.
Listen up. I know the shit you’ve been saying behind my back. You think I’m stupid. You think I’m immature. You think I’m a malformed, pathetic excuse for a font. Well think again, nerdhole, because I’m Comic Sans, and I’m the best thing to happen to typography since Johannes fucking Gutenberg.
Via pr, a new initiative between publisher Dark Horse, electronics giant Toshiba, and newspaper USA Today called DH:HD (Dark Horse: High-Def), but it’s not quite clear what it is. It will bring comics to multiple platforms — desktop, digital and doorstep — and be like Wednesday Comics (which ran a Superman page in the online USA Today after a print launch) and will be viewable on Toshiba’s giant HD TVs. It will also involve Dark Horse top properties. Hm.
The program kicked off today with a feature on Janet and Alex Evanovich’s new graphic novel, TROUBLEMAKER, which appears to be a digital comic with some kind of Flash interface looming over a profile of the Evanovii. Okay then! PR below:
“What’s different [about META 4],” McKeever said, “is the lack of a specific central theme or category. In the past, I would find myself wanting to do a ‘political drama’ or an ‘apocalyptic horror’ tale. But here, I am allowing myself to weave through [different] subjects, and pull into it whatever is needed based on that given scenario. The challenge is to make it all work.”The key to that, he said, lies with the characters. “[They] have to be designed in such a way that they come across as subtly ‘real’ and yet malleable enough to show extreme emotions when called for,” McKeever said.<