I’ve been using Comixology to handle my pull list. They’ve got a pretty robust pull list feature going on, and it integrates with my comic shop, so it’s very convenient. Adding and subtracting things is just a matter of pressing a button. I dig it. Check it out, you might, too.

I pulled up my pull list to see how many books I’m regularly buying. This doesn’t count things I grab off the shelf, but it’s a pretty good representation of what I buy.

Marvel- Amazing Spider-Man #593
Vertigo- Seaguy: The Slaves of Mickey Eye #2 (of 3) (MR)
Marvel- Black Panther Vol. 2 #4
Vertigo- Young Liars #15 (MR)
Marvel- Amazing Spider-Man #594
DC Comics- Final Crisis Aftermath: Dance #1 (of 6)
Vertigo- Hellblazer #255 (MR)
Marvel- Amazing Spider-Man #595
Marvel- Immortal Iron Fist #26
Vertigo- Unknown Soldier #8 (MR)

That’s the entire month of May for me. Eight distinct franchises, a total of ten comics. That comes up to a hair over 30 bucks a month on average.

I pared my pull list down a lot over the past few months. I vastly prefer trades, and DC has done a pretty good job of chasing me away from a lot of books. In fact, I think I buy two main DCU books– Power Girl and Dance. I’m waiting for Batman & Robin to come back, and the Rucka/JHW3 Detective might pull me in depending on how the first issue goes. In fact, just looking at May… I’m not really bothering with the big events from either company. Final Crisis Aftermath counts, I guess, but I expect that to be good, unlike Battle for the Cowl or the other Aftermath books. It’s the only one that sounded appealing to me, anyway.

I made a decision a while back not to buy books I felt were mediocre. If I’m not loving it, or at least liking it a whole lot with a chance of love, I’m not buying it. Life’s too short to read bad comics, and if a comic isn’t pushing my buttons, that’s the very definition of a bad comic. The way my list is now, I really look forward to picking up my books. I know I’ll get a couple of books a week that’ll float my boat.

What’s your pull list looking like? Are you policing your stack by quality or price? I generally don’t buy 3.99 books as a rule, unless it’s genuinely extra sized, as in Amazing Spider-Man’s special issues.

MARCH OF GUILLEM’S DC SIRENS – COMICON.com Panels | Comic Book, Graphic Novel and Cartooning Discussions

GUILLEM MARCH: I like drawing females, but there were a risk of doing a silly series about boobs and butts jumping over the buildings. Once I knew Paul Dini was the writer, I couldn’t be happier. Also I was a little worried, because previous stories with Harley Quinn had a humorous tone that wouldn’t fit with what I’d like to draw, but Dini’s ideas for the story are great, the characters are treated very seriously, and I’m very excited working on this project.

Naw, son.

We hit 1000 posts the day before yesterday, so I figure now is as good a time as any for some station identification.

Who we are: David, Esther, Gavok
What we do: write about comics from a variety of angles using analysis, criticism, comedy, and common sense
What we like: Gavok likes Venom, Esther likes Batman, David likes black people
What we don’t like: Racism, sexism, Howard Mackie
Pet peeves: Gavok

You can find us on RSS (comments feed here) and livejournal. Our posts come with a Related Posts feature at the bottom, which should link you to posts about similar subjects. We’ve got a search box off to the left, and if you click “+/-” under categories, you’ll find all of the categories we’ve written under lately.

If you want to get in touch with us for hate mail, fan letters, or review copies, our email addresses are over on the right under our names, along with a way to sort by name.

Any questions?

Let me tell you about James Howard. He’s a stand up gentlemen and one of my oldest internet friends. If I was Jigsaw, he’d be Loony Bin Jim, only instead of being held up in an asylum where a disgusting fat man steals his applesauce, he’s in Canada where… I’m sorry, I completely lost track of where I was going with this.

James is currently writing a blog called Gone East to Western. At first I was curious as to why we didn’t have a link to it until now, but then I realized, oh yeah, he only started updating it recently. Maybe he’s busy writing that guest article I commissioned him to do like two years ago.

Anyway, he did a recent update about a library mural that he’s forced to see day in and day out. Despite the butt-ugly painting that suggest that different cultures (which includes people without legs, judging from the people in the center) can enjoy library services together, the mural is ripe of things that would get your ass kicked out of any self-respecting library.

Give it a read. It’s funny stuff.

I get bombarded with Marvel‘s press releases on a daily basis. They vary from on-sale announcements (once a week), interview pimping (a few times a week), and sell-out notices (five in the past seven days). Generally, it’s three or four emails a day. Constant information updates, hype, and pimpery.

Some of it is interesting, I’ll admit– it’s nice to see links to interviews on Marvel.com, since I don’t usually check the main site. However, most of it? The sell-out notices for books that are made on something close to a print-to-order basis? I don’t care. It’s stupid. It isn’t news, because it isn’t even a retailer sell out. It’s at the distribution level, and whoops here comes a second printing next week. It’s a total smoke screen.

I work with a lot of PR in my day job, and I’d like to think that I’ve picked up some things over the past few years. Successful PR campaigns tend to be focused, rather than spread out. There’s a target and you have to hit that target the first time. A constant flood of information only serves to dilute your message and turn your news into anything but.

I got something very interesting in the mail today. Top Shelf Comix is re-releasing Jeff Lemire’s (excellent) Essex County trilogy in softcover and hardcover editions in August. Leigh at Top Shelf sent over a pre-release pamphlet, for lack of a better word. The back cover says that it’s a chapbook that was designed by Carlos Hernandez Fisher. So, chapbook it is.

It’s a small booklet, about as tall as my hand, with a brown cover. The book is titled “A Reader’s Introduction to Essex County,” and the interiors are just that. There’s an introduction by Leigh Walton that introduces the trilogy, announces the Complete Essex County volumes, and explains the purpose of the booklet.

What follows are preview pages from each book in the trilogy, with praise from critics and creators alike scattered throughout. The previews give you a brief taste of each volume, just enough to give you an idea of the story and the art, but not enough to blow any reveals. It’s a teaser. After the previews are a couple pages of the extra bonus material from the collected edition. A brief bio of Lemire rounds out the book, with the inside back cover being dedicated to a picture by Lemire that says “Now Leaving Essex County.”

This, to me, is successful PR. It doesn’t get lost in an avalanche of info of varying relevancy and quality. It’s focused on doing one specific thing: reminding you that Jeff Lemire’s award-winning and critically-acclaimed trilogy of Essex County books are getting a deluxe re-issue in three months. It provides order options, details on the format (6.5″x9″, 512 pages, hardcover and softcover), reiterates those details on the back cover, and pulls it all into a neat mini-comic style design.

It’s attractive, memorable, and different. It’s the sort of thing that helps to build interest in a book, as well as delivering a good amount of info in a tiny package. Even better– I got to the page of one of the books just by clicking one link on the home page from a drop down box. No navigating to Universe/Series/Franchise. Easy.

Lately, there has been a lot of talk about how women are portrayed on the covers of various comic books.  I’m relieved to hear it because my frustration level, every week when I see the solicits, has been rising.  At least I know I’m not alone.  I’ve planned a longer post on this issue later on, but for now, I’ll keep it short.

I’ve seen many positive responses to the covers.  ‘Being sexy is good, not bad,’ and ”this is what sells’ seem to be the most popular.  Maybe they’re true.  But at the same time, they’re the ones that bother me the most.

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I was reading Secret Six #9, today.  In it three members of the six stop a kidnapping.  The kid in question is female, blonde, and in a pink dress, and who should end up holding her and taking her to her parents?  Bane.  Yes, the gigantic, awkward, spine-snapping collossus of the Secret Six ends up singing to the little girl and calming her down.  Looking at the issue made me think of all the other Big Gruff Guy, Cute Little Kid pair ups there are.  There’s Bane, in this comic, and to some extent Bane with Scandal Savage.  Cable got a baby girl a little while back.  Wolverine can’t pass a teenage girl without becoming a mentor to her for a little while.

And then there are countless movies, tv shows, and books that play off the same concept.  It’s cheap, obvious emotional manipulation.

I love it.

Of course I know that people are pandering to me.  So what?  What exactly is wrong with a story that is flat-out written for reader enjoyment?  Isn’t that what we pay for?  I realize that graphic novels can make subtle points and speak to our minds instead of our brain-stems, but at the same time, I think there’s an art to skillfully pushing people’s buttons and molding their emotions.  I also think there’s a certain integrity in deliberately giving readers the kind of stories that they enjoy most.  I don’t know if it’s customers service or consideration for one’s audience, but I like it.

The only real problem I have with accepting this kind of obvious maneuvering is it rips the self-righteousness right out from under me.  When certain authors set up one character as an incompetent, hateful buffoon so that their pet character can look cool by taking out an easy target, someone reading The Complete Works of Proust may be able to raise a scornful eyebrow and talk about cheap storytelling technique.  But I, gripping my copy of that Batman Adventures comic in which Batman has to spend a whole night crime-fighting while also taking care of a baby with nuclear codes imbedded in its DNA, don’t have a leg to stand on.

But at least I don’t have to spend my time reading The Complete Works of Proust.

Officially out, I mean. It may have come out last week, but “Diamond” and “reliable shipping” don’t exactly go hand-in-hand sometimes. I reviewed it here. I checked out the final version, and Ben Dimagmaliw’s colors look great. Very nice and moody, and I like how he makes Janni stand out in the dry, drab grays of London. There are a lot of nice touches like that, where the coloring enhances the art and genuinely adds to the experience, rather than just being window dressing.

Yesterday, Justin suggested I pick up Aya from Drawn & Quarterly. I’ve got some spare Amazon credit, so I’m going to order it today I think.

I want a couple of other titles, too, though. Esther and Gav have superheroes pretty well locked down now, so I get to indulge myself with a bit of non-Big Two (or non-Big Four) fare. Sell me on a book that’s published by houses like Top Shelf, D&Q, First Second, Fantagraphics, and so on. No qualifiers or reservations or pickiness on my part– just tell me why you like it. I’ll pick it up if I like your pitch and review it when I finish.

True story: I hated Kieron Gillen & Jamie McKelvie’s Phonogram. I read the first issue and found it impenetrable and kind of a hipster music snob’s version of DC’s incestuous continuity porn. I dug McKelvie’s art, and his name is now usually enough to get me to at least skim a new comic, but it wasn’t enough to keep me reading a book that I had absolutely no interest in. All of the references went whizzing right over my head, but they didn’t confuse me exactly. It was more like I recognized that the book wasn’t being written for me. I don’t think I’d even heard actual Britpop before, I dunno, Guitar Hero.

An off-hand comment by a friend about comic stories that she wants to be told led to me thinking about Phonogram. Phonogram is proof that comics can do basically anything. Phonogram is about, according to wikipedia, “a mage who uses the medium of Britpop music to interpret his magic.” Think Zatanna, but with Oasis instead of talking backwards. Alongside Phonogram stands superheroes, comics about depressed midwesterners, video game-inspired pop culture reference fests, and easily dozens of other stories.

So, where are the stories I want to see? I’ve got a wish list of things I’d like to read in comic form, and I think a few of these are interesting enough that people who aren’t me would be interested, too.

The Great Migration
Ever heard of this? The Great Migration altered the racial make-up of the populated of the United States forever. It’s my understanding that prior to the Great Migration, something like 90% of American blacks lived in the South. Racism, economic reasons, and a number of other issues led to the large-scale exodus. After it, blacks were spread all over the country, mainly in urban areas.

The jobs they found up north and to the west were largely industrial in nature, and in and around cities. This was a marked change from the rural life and farming to be found in the south. You couldn’t really leave to get a job and ship money back to your family at this point, either, so your whole brood had to come with you.

You have the makings of an interesting story there. An entire family, torn from everything they know, shipping off to somewhere new, where there are new dangers, but also new opportunities. Adults who’d only known one thing being forced to learn something new to provide for their children. In a way, it’s a classic american tale. The Great Migration was about pulling yourself up from less than nothing so that your kids could have a better future than you did.

Interestingly, I’m pretty sure the Great Migration is why so many city-based blacks have family down south nowadays. Not everyone could leave, and family ties are hard to break.

Music
Specifically, rap.
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