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The 'mechanics' of graphic novels
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It's unfortunate. In his book, The Seduction of the Innocent , Wertham argued that comic books would lead to sexual deviancy and delinquency among American youths. His testimony before the Senate Subcommittee on Juvenile Delinquency in led to the adoption of the Comics Code by comic publishers, a self-regulating code which prohibited most types of comics.

Only superheroes survived. However, what we have now with the recent resurgence of darker, more sophisticated comic compilations is that people are becoming more and more accepting of other types stories being told in a comic book format. This is building into a bigger and bigger trend as Hollywood gets involved with producing films based on graphic novels: despite the superhero tint of the industry, you can always find films like A History Of Violence.

There are always different themes that aren't superheros based, and I hope that eventually graphic novels can continue to grow into something that is a viable form of entertainment like TV, novels, and movies. There are really no restrictions on what genres and what stories we can tell. But because of the light-hearted nature of hero comics, don't they appeal to a broader audience?

Comic sales took a nosedive after a speculation bubble in the s. How to economics factor into the decision to publish safe rags like Superman and Batman or move into graphic novels? I can say right now that Image Comics, the publisher where I'm a partner, less than 50 percent of our books center on superheroes.

More than half are detective comics and non-superhero themes. At the same time, we're off the beaten path from bigger publishers like Marvel or DC. Image has grown by leaps and bounds. We have more books every month, and our titles launch newer and higher. As the industry struggles, people will latch onto mainstream comic books. But DC and Marvel will appeal to a wider audience; it's just an issue of finding new ways of reaching the wider audience.

Marissa’s Guide to Writing a Graphic Novel: Part I | Marissa Meyer

The main way to get comics is through stores, usually through specialty comic stores although bookstores like Barnes and Nobel will carry compilations or what the public considers graphic novels. As more and more people start getting comics in their living room, on their iPad, or whatever device, there'll be less demand for Marvel and DC year old superhero characters doing the same thing month in and month out, and we'll be more into trying out original ideas.

NEW COURSE - Making a Graphic Novel

I'm very excited about the future because of that. What would comics look like in a digital format? Plenty of iPad-ready magazines have special features. I'm almost imaging moving panels No moving panels. That's like having a novel with words read to you As we move into the digital age, comics will hopefully stay the same, but I'm sure there'll be added features. Image is trying to figure out different kind of things that can be done through digital that can't be done through print. There are a lot of exciting ideas out there, and the future will hold a lot of possibilities.

It seems as though Image, being a smaller publisher without any legacy publications, is best suited to publish graphic novels about zombies, detectives, and everything else. I think Image is perfectly suited for this sort of thing. Image is the equivalent of an avante garde, independent movie studio that allows creators to do what they want and succeed and fail based on these ideas.

A creator can come in and say "I have an idea and this is what it is" and the publisher and partners will decided whether we want to go through with it, but we'll never come back and say "can you do this instead of this? Image is a vibrant breeding ground for new ideas. What's the most successful independent book, in your mind? Which ones take the genre to new limits? Mike Mignola as artists took everything he liked to draw and created this world which provided him a playground that he liked to draw within. And he can pretty much do anything. It's been a huge success. When it gets down to it, that's something one guy decided to do and it worked.

There are a lot of things new coming out of image. A new book called Chew is one of the most original ideas I've ever come across. The main character's a detective who can get psychic impressions off of things he eats. Basically, he has to get impressions by eating evidence. Sometimes its a severed finger, sometimes it's not. It's a unique take on a well-worn genre. It really impresses me to see someone do something with a cop story that's vastly unique and really entertaining and engaging That's been a fairly strong financial success.

Maybe the two go hand in hand Films have had success in introducing the public to the idea of the comic as a more textured work, mainly through projects like Watchmen , Sin City , Persepolis , and maybe even From Hell not "The League of Extraordinary Gentlemen," which was, well cartoonish.

Becoming a Graphic Brand

Are there concerns about these works losing their thematic luster in translation to the big screen? This comes down to the basic question of which is better: the novel or the movie. Most people realize that the novel is better. I think people have learned over time that when things are adapted, it loses something.

I don't think anyone sees Watchmen and thinks that they won't seek out the book. I don't think that's skewed in any way, and I actually think that movie in particular is actually kind of cool. I will say this though; one of the great things about the graphic novel is you decide the pacing. When it's adapted, it's hard to adapt the same experience.

Say Hello to Aggie: Introducing American Girl's First Graphic Novel

Do you have any thoughts on Y: The Last Man? The series ended a few years ago, and I know it made quite an impression on many people in Hollywood. Vaughan and Pia Guerra published by Vertigo beginning in Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read.

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Preview — The Griff by Christopher Moore. Ian Corson. Jennyson Rosero Illustrator. The mayhem begins when an ancient alien beacon is unwittingly activated, summoning behemoth spaceships from the far reaches of the galaxy. Hovering in Earth's atmosphere, they release a biblical stream of pods that transform into minivan-size, people-eating, flying lizardy things that look like mythological griffins. Destroying communications, emergency, and military infra The mayhem begins when an ancient alien beacon is unwittingly activated, summoning behemoth spaceships from the far reaches of the galaxy.

Destroying communications, emergency, and military infrastructure, they systematically kill everyone on the planet. Well, almost everyone. A pesky trio of New Yorkers isn't about to roll out the red carpet—or roll over and die—for these unwelcome intergalactic marauders. Unlikely heroes Mo, a snarky, Gothy game-goddess; Steve, a skateboard-punk schwag whore; and Curt, the obligatory buff commando expert in weaponry and a genius with cosmetics , are going to take it to the aliens—and Florida is where the fight is.