Graphic novel sale

A reminder that, besides our $3 sale on many fine NBM and Eurotica graphic novels, we also have a 50% sale going on on graphic novels from Pantheon, First Second and others!

These include CHRIS WARE, EDDIE CAMPBELL, HARVEY PEKAR, FLIGHT, BEN KATCHOR, ART SPIEGELMAN!

Some great books at truly fantastic prices. Quantities are very limited.

And our $3 sale has seen books sell out but we still have graphic novels by MATTOTTI, KUPER, SCHUITEN, PRADO… besides plenty of goodies in Eurotica…

get ’em before they sell out!

THE BROADCAST: Anatomy of a Scene, Part 3

This one doesn’t require much explanation. Once Noel and I are both happy with the layouts, he goes to work. A few weeks later, I end up with something like this waiting in my inbox…

I know, I know. Someone shouldn’t get to work with an artist THIS talented on their first book. But hey, someone has to be the exception that proves the rule. Might as well be me. 😉

Be sure to pre-order your copy of THE BROADCAST today. Time is running out!

THE BROADCAST: Anatomy of a Scene, Part 2

Yesterday I shared an excerpt from THE BROADCAST’s script, today I want to give you a look at the next step — layouts.

Essentially, Noel takes the script and does a very rough version of the illustrated page. It’s a vital step in the process because it gives us a chance to make sure the story is being told visually.

While you want the art to work hand-in-hand with the dialogue that will eventually be included, a good artist will tell the story without a word on the page. Just look at the first set of layouts…

Already, we know three men are meeting behind closed doors (see how Noel stuck that panel in — and rightfully so).

We know that two of these guys are here to see the old man, and we know they’re pressing him about something (see how one of them is leaning forward, hands on the desk?)

We know it isn’t going well. Just look at the body language in panel five. Even in these rough drawings you can see he is getting upset.

And finally, we know the situation reaches a boiling point when the young guy finally snaps and pounds a fist onto the desk.

You’ll notice Noel added two panels to the second page. The last panel is a particularly important addition.

I initially wrote this page to end with Jacob’s dirty look — but showing Gavin and Eli as they watch Jacob storm away is a far stronger moment to end with. After all, Gavin and Eli are two of our most important characters. Leaving this scene without showing their dumbfounded reaction would have been a huge mistake.

Mr. Easter and On Odd Hours reviewed

In a round-up that appeared on Sunday, The Miami Herald praised two of our books (out of a total of 6 only): “A Home for Mr. Easter” and “On the Odd Hours“. For Mr. Easter, by Brooke A. Allen, an exciting new talent, reviewer Richard Pachter said:

“Astonishingly, Allen is still a student at Savannah College of Art’s comic art department. But her moving, memorable and rollicking tale of outcast, oversized schoolgirl Tesana, her magical bunny and cast of outrageous but true-to-life characters and situations is one of the best things I’ve read in years — and I generally abhor funny-animal stories, Carl Barks notwithstanding. Allen is a major talent, and this amazing debut portends a great career in illustrated storytelling for the ages.”
And on our latest in the Louvre series On the Odd Hours by Eric Liberge:
“A great story of a hearing-impaired young man trying to find his way. Friends and lovers try to help but won’t listen to him — nor he to them. But a secret overnight guide to the fabled museum chooses him as an unlikely successor. Mona Lisa winks at him, changing and saving his life.”

THE BROADCAST: Anatomy of a Scene, Part 1

This week I wanted to give a behind-the-scenes look at how Noel and I collaborated on THE BROADCAST.

Below I’ve attached a small script excerpt that takes place near the beginning of the book’s second act. I’d love to tell you this is the first step in the creative process, but I’m just not that good. The truth is, this is what my scripts look like after endless outlining, note-taking and re-writing.

You’ll notice I use a sparse writing style, and it’s a very deliberate move on my part. While I usually have an idea how a panel should look, the truth is I try to give the artist as little description as possible. After all, he’s probably going to have better ideas on how the story should be told visually — why am I going to handcuff him with a list of things he “HAS” to include?

***

PAGE SIXTY-FIVE

PANEL ONE:

Emma and Sharon share a couch in the Shrader living room, three children crammed between them.

PANEL TWO:

Tom sits calmly behind his desk as Jacob and Dawson try to plead their case.

Jacob is in a chair. Dawson stands. The old man’s fingers are steepled in front of him.

DAWSON: PLEASE, TOM. YOURS IS THE ONLY HOUSE WITH A STORM SHELTER FOR TWENTY MILES.

TOM: THE CHURCH IN TOWN HAS A CELLAR.

JACOB: AN’ IT’S FILLED TEN TIMES OVER BY NOW.

PANEL THREE:

Tom leans forward.

TOM: I UNDERSTAND WHAT YOU TWO WANT, I DO. BUT UNTIL MY DAUGHTER IS SAFE NONE OF THIS IS OPEN FOR DISCUSSION.

PANEL FOUR:

Jacob fights to keep his anger at bay.

JACOB: BUT MY DAUGHTER’S HERE.

TOM (off panel, softly): I KNOW THAT, JACOB.

PANEL FIVE:

Dawson’s talking to Tom but has his eyes on Jacob as he does. He wants to make sure Jacob doesn’t lose his cool.

DAWSON: CAN YOU LET US DOWN FOR NOW? AS SOON AS KIM SHOWS, WE’LL…

TOM: IT’S NOT GOING TO BE THAT EASY.

PANEL SIX:

Jacob slams his fist down on the desk. It catches everyone off guard. They jump back from the outburst.

JACOB: GOD DAMN IT, SHRADER!

PAGE SIXTY-SIX

PANEL ONE:

Tom comes out of his seat, enraged and ready to let Jacob have it.

PANEL TWO:

Dawson comes between the two as Tom rounds the desk. He has a hand up to each man, hoping he can stop them both.

KIM (off panel): DAD!

PANEL THREE:

All three men turn to see Kim coming into the room.

TOM: OH, THANK GOD.

PANEL FOUR:

Kim and her father embrace.

KIM: IF I’D KNOWN…

TOM: I KNOW, SWEETHEART.

PANEL FIVE:

Jacob looks over at Gavin and Eli who just appeared in the doorway. He doesn’t look happy.

PANEL SIX:

Fuming, Jacob storms out of the room. He eyes Gavin and Eli as he goes.

JACOB: YOU TWO JUST REMEMBER WHO GOT HERE FIRST.

****

Time is running out! Be sure to pre-order your copy of THE BROADCAST!

A rain of reviews for Axe-Man

Comics Book Resources highly recommends Ricker Geary’s latest Axe-Man of New Orleans and provides a number of pages previews.

“AXE-MAN is proof of Geary’s obvious talent for resurrecting cold cases and presenting them in an easy to read package. With each page the reader is absorbed further and further into a tragic scene long gone but never forgotten, giving the entire book the feel of a scary story told around a crackling campfire.”

Comics Waiting Room

“His artwork doesn’t waste time. It’s not airy and light, but strict and a bit ominous. Geary doesn’t use shades of gray in this black-and-white comic the same way Eddie Campbell did in his collaboration with Alan Moore on From Hell; his use of light and shadow is consistently stark. Even the plain faces of the subjects he’s documenting with his illustrations have the spooky quality of old-world daguerreotypes.

My favorite book in the English language is Truman Capote’s In Cold Blood, and one of my favorite films is David Fincher’s Zodiac. The horrors of reality are infinitely more frightening than the horrors of the human imagination, and I have great respect for writers and artists who can effectively capture such tales. Rick Geary has successfully done so in The Terrible Axe-Man of New Orleans. This is the first of his true-crime comic books that I’ve read, but I certainly hope it’s not my last.

What can I say? I’m a sucker for a good crime yarn, and Geary delivers.”

Broken Frontier

Tony Isabella on Axe-Man: full 5 Tonys

The Terrible Axe-Man of New Orleans is the latest book in Rick Geary’s “A Treasury of XXth Century Murder” series.  While it’s unquestionably ghastly of me to revel in these histories of murder most foul, I do find them irresistibly inviting and even charming.

Geary’s style lends itself perfectly to this shocking tale of unsolved killings in post-World War I New Orleans.  His matter-of-fact narration and illustrations are sedate given the gory nature of the murders, but his calm unveiling of the facts actually adds  to the unsettling horror.  He takes his readers back to that time, draws us into the fearful moments of the spree, and leaves us more than a little unsettled afterwards. 

The darkly charming Axe-Man of New Orleans earns the full five out of five Tonys.”

Tony Isabella, Comics Buyers Guide

THE BROADCAST: Cast of Characters

Putting the book together has been a lot of fun because it’s given me a chance to look through some of the early material that was created in the project’s development.

For Noel, the first step was to develop a look for each of the characters. The “behind-the-scenes” material in the book will give everyone a look at the earliest sketches Noel created, but here’s a quick look at the final designs and a little bit about each of the players in THE BROADCAST…

Eli and Gavin Baker

Eli’s worked his whole life to give Gavin the life he never had. When things got tough for the Indiana farmer, Eli went to the bank and mortgaged everything he had – including his farm – to ensure their survival and a future for his son. Now, Gavin’s returned from a four year stint at university and is making plans to follow the love of his life to New York – if only they can convince her overbearing father to let them go.

Thomas, Emma and Kimberly Shrader

After losing both sons to the war, Thomas moved his family from Chicago to the Indiana plains in hopes he could start anew and atone for the mistakes he made with his boys. That said, years later history seems to be repeating itself. Just as his sons left to enlist, never to be heard from again – now his daughter is talking about a move to New York with the Baker boy he’s never approved of – something he’s ready to prevent by any means necessary.

Jacob and Ally Lee

A broken man, Jacob has allowed a string of bad luck to twist him into a man fueled by jealousy and rage. While he does his best to suppress these poisonous emotions in the name of his little girl, raising her alone is a constant reminder of why he’s become so angry in the first place — a powder keg ready blow.

Dawson and Sharon Winters

The Winters are a typical family trying to make their way out of the Great Depression. Like his friend Jacob, Dawson sold his farm to Thomas Shrader and now works the land he used to own. Unlike Jacob, however, the Winters count their blessings, knowing there is always someone in the world suffering a bit more than them.

Don’t forget to pre-order your copy of THE BROADCAST today! The release is quickly approaching!