Here’s a video made through a spontaneous team-up with Weyward Sisters Productions. It was great fun to meet them and collaborate on this. Hopefully it’s enjoyable whether you know about comic books or not. In case it helps, go through the jump for the back story and info on how this was made through the magic of Facebook.
I’m very excited to announce the launch of a new column at The Comics Observer starting tomorrow. Director/writer/host of the award-winning documentary Dig Comics, Miguel Cima, will be contributing a new installment every month, where he’ll be looking at what excites him about the art form found in comic books and graphic novels, and what he feels is holding it back. He starts off with a doozy where he challenges readers and publishers alike to step up.
Disclaimer: I helped produce the two Dig Comics shorts that can be seen on DigComics.com, and continue to serve as a consultant and more as we talk with production companies to launch a TV series, feature-length film or web-series. To follow our progress and join in the crew’s comics discussions, check out the Dig Comics Facebook page.
Tomorrow morning, The Comics Observer will go live. I hope you’ll check it out if you have any curiosity about comic books, graphic novels, manga or the like. I’ve put a lot of work into structuring a site that will hopefully be more unique than the standard comics news site or blog. My aim is to post content for people with differing levels of interest in and experience with comics. Some of what’s up there now will give you an idea of what I’m talking about, but it will hopefully be more evident going forward.
The Comics Observer also has its own Facebook and Twitter accounts. Please like and/or follow, respectively.
Everything that I’ve posted here under the Dig Comics category will be there as well, along with accompanying comments and what-not. I haven’t decided yet whether I’ll remove them from here. It’s kind of redundant to have them in both places, but there are a number of sites linking back here to specific articles and I haven’t figured out a way to automatically forward/redirect visitors without redirecting the entire CoreyBlake.com site to ComicsObserver.com. Since CoreyBlake.com will remain active, that obviously won’t work. So I guess for now, doubles is what we get.
Anyway, thank you to everyone who has visited and followed my comics writing so far and I hope you’ll enjoy the new site. See you over there!
Yes I actually took a weekday off from blogging yesterday. Were you lonely? Did you miss me?
I converted CoreyBlake.com into the current blog format back in April 2008. For a while, I mostly blogged on a “whenever” schedule (sometimes daily, sometimes weekly, sometimes a few times a month). But thanks to the encouragement of my friend and coach Cindy Marie Jenkins, I committed to blogging Monday through Friday. Since November 2010 that’s just what I’ve done (OK, with the exception of a couple days off for Thanksgiving in November 2010, the lost week in January 2011 from a computer crash, and yesterday). A little over a year isn’t really that long, but for the Internet, I think it’s worth mentioning.
If you follow this site, you know that a good percentage of my blogging shifted to covering comic books, graphic novels and the like. My ongoing work with Dig Comics inspired a new direction in my career(s) that has included comics punditry, journalism, consulting and generally spreading the good word of sequential art in its myriad forms. It’s an area that continues to fascinate me. So I’m creating a new site/blog that will be dedicated to what I’ve been doing in that realm here and more. Right now, it looks to be on track for a February 1st launch. I’m very excited and have lots of ideas for the site’s future. I’m starting at what I’m hoping is a manageable level and hope to build up as I’m able. So as I continue to work behind-the-scenes on that, comics coverage here at CoreyBlake.com will take a breather and then resume at the new site next month.
Meanwhile, my performing with the comedy troupe Magic Meathands continues. We do fully improvised shows in and around Los Angeles, and also do community outreach shows for audiences that aren’t able to come to us. I perform with them every chance I get and am also running their blog, which generally updates every Monday. In between posts about upcoming shows (we perform at least 3 times a month), I’m hoping to start spotlighting members, some of the groups that do shows with us, and some of the non-profit organizations that invite us to do shows for them.
Earlier this month, I also launched something for music fans. Ten on the Tenth had a great first month for an idea that popped in my head 5 days before it went live. Based on some feedback I’ve gotten, I’ll be tinkering it a little for February. If you missed it, how it works is I announce a theme (January was “new”) and then on the 10th of every month, people post their list of 10 songs within that theme. Watch for February’s theme to be announced around the 8th.
So with all of that (and more ideas still percolating), what happens with CoreyBlake.com? The frequency of blogging here will probably drop to two to three times a week so I can juggle the other stuff. There will be some self-promotion but that gets boring (for me too), so I’ll also talk about things that catch my eye, and maybe getting back to some of the silly blogging I was trying out in 2008. Otherwise, we’ll just have to see what catches people’s attention. Heck, I’ll even take requests. If you’d like to see me blog about something, let me know.
I’m excited to see where all of this will lead. If you’re still reading, thank you very much for being so interested in what I’m doing. I stopped reading after the first paragraph, so kudos to you.
St. Trinian's: The Entire Appalling Business
“Did I do all that?” asked Ronald Searle in an interview with Channel 4 News last year, reflecting on his immense body of work. “I must’ve been a maniac.”
Searle, who created the popular St. Trinian’s, died in his sleep during the night of last Friday, December 30. He was 91 years old.
The St. Trinian’s cartoons, first growing to prominence in the late 1940s, satirized British boarding schools by depicting subversive and naughty, at times criminally so, school girls. They inspired a series of movies in the ’50s and ’60s, and a recent relaunch. But perhaps more significantly, they catapulted Searle onto a national and even international stage, as he went on to illustrate books, such as the popular Molesworth series by Geoffrey Willans; magazines like Life, The New Yorker and Punch; travel and poetry books; advertisements; and more. His immense output influenced hundreds of future artists, including Matt Groening (The Simpsons), Pat Oliphant (Pulitzer Prize winning political cartoonist) and Richard Thompson (Cul de Sac).
In the Jungle - Prisoners Cutting Into the Mountain near Konyu, Thai-Burma Railway, June 1943 (Imperial War Museum)
More amazing than all of that is Searle’s World War II experience, which established him as a fearless artist and chronicler. He enlisted in the Royal Engineers, where he was stationed in Singapore until it was overtaken by the Japanese in late 1941. Searle became a prisoner of war, where he was eventually shipped to Burma as forced labor on the Death Railway. Over 60,000 Allied POWs worked on the project, with 16,000 dying in the process (6,000 of them British soldiers), in addition to some 200,000 Asian laborers with about 90,000 dying. The jungle was a breading ground for cholera, and the harsh conditions and poor treatment left those that didn’t die malnourished, sick and near-death. Over the four years as a POW, Searle’s weight dropped to 85 pounds or less, he contracted malaria (25 times!), dengue fever, beriberi and suffered from a tropical ulcer that ate his ankle to the bone and some skin condition that covered his body in a festering crust. He was also subjected to beatings and even a guard’s pick axe in his back. Through it all, he kept drawing to capture the horrors he witnessed. Some 300 illustrations were created and hidden away under the mattresses of dead cholera victims and other places that guards wouldn’t touch. Discovery would’ve resulted in decapitation.
Following his liberation at the end of World War II, some of this work was published but it was apparently “too soon” for readers at the time. However, To the Kwai – and Back: War Drawings 1939-1945, published in 1986 by Souvenir Press, fared better. Most of the illustrations are also displayed in the Imperial War Museum in London.
In the ’70s, he helped his wife Monica, who was going through intense chemotherapy treatment for an aggressive breast cancer, by drawing “romantic and perfect” cartoons of Monica as Mrs. Mole, a blissful cartoon character content at home. Each time his wife received a treatment, he would give her a new drawing of hope for what the future could hold. 47 were made in all. The two ended up having 50 long years together. She died this past July. Last October, following one of her final wishes, Searle published for the first time the illustrations he had made for her. Les Trés Riches Heures de Mrs. Mole was released in Europe in support of National Breast Cancer Awareness Month.
Following his death, his family released the following statement earlier this week: “Ronald William Fordham Searle, born 3 March 1920, passed away peacefully in his sleep, after a short illness, with his children, Kate and John, and his grandson, Daniel, beside him, on 30 December 2011 in Draguignan, France. He requested a private cremation with no fuss and no flowers.”
Nucleus just east of Los Angeles has a gallery exhibit on Ronald Searle scheduled to begin this Saturday, January 7, with an opening reception from 7 to 10 PM. The exhibit closes Sunday, January 29.
ComiXology leads digital revolution
While comic book stores were struggling (and in some cases closing) through much of 2011, the other major distribution outlet for comic books and graphic novels also faced a tough time. Book stores became a major outlet in the 2000s, primarily due to the manga explosion that brought a whole new audience back to sequential art in the United States. But with the dominance of Amazon.com and the rise of digital e-readers, book stores were forced to evolve. Unfortunately Borders, the second largest US book store chain and the first to usher in manga to American readers, failed to do so in time and went into bankruptcy this year and caused a ripple effect throughout the comics industry.
For some comics publishers, the effect was minimal, as previous payment issues with Borders caused some to shift their business away from them before the bankruptcy was announced. But others felt it more strongly, such as Los Angeles-based Tokyopop, the second largest manga publisher in the United States. In the beginning of the year, Borders stopped paying its vendors in an effort to avoid bankruptcy. This resulted in orders getting cut, and with Borders being Tokyopop’s largest customer account, income was severely damaged. Layoffs at Tokypop followed. Despite the late-entry hit manga Hetalia: Axis Powers, it couldn’t reverse the damage of a closing Borders, online piracy (and a digital strategy that amounted to too little too late), and the under-performing Priest feature film. By May, Tokyopop was holding a garage sale to empty out their LA offices. With their termination of US publishing, licenses were canceled, leaving a good number of manga series unfinished. It’s difficult to know how many casual readers of those series drifted away from reading manga and comics entirely after their favorite manga simply stopped coming out. In October, Tokyopop founder Stu Levy revealed that he is “continuing to explore any and all opportunities to relaunch the manga publishing operations” but it will require him having to renegotiate contracts with Japanese publishers. In the meantime, Tokyopop remains as a modest web-newsletter about Asian pop culture, in a partnership with GeekChicDaily.
Viz blazes own path, offers digital subscriptions to Shonen Jump Alpha
It was clear that another distribution outlet was needed, and fortunately one has been steadily growing over the last two years. Digital comics allow people to read print comics and manga on the web or mobile devices such as the iPad, iPhone, Android phones and tablets, Kindle and Nook. Companies have been popping up to provide publishers with the service of configuring their comics to the digital landscape and selling them on these devices. The digital distributor ComiXology has pulled ahead as the clear industry leader, with an exclusive partnership with DC Comics and partnerships with almost every other major comics publisher and many smaller ones too. Other prominent digital distributors are Graphicly, with their focus on community-building, and iVerse Media’s Comics+. Some publishers have chosen to build their own in-house digital distribution systems, such as Dark Horse Digital and Viz Manga. Some publishers are even shifting entirely to digital or publishing digitally first, mimicking the successful web-comics model of building an audience to support print releases.
Most significant in 2011 is the near industry-wide move by comics and manga publishers to ramp up their digital output. This was most notable in numerous announcements by publishers to release digital and print versions simultaneously (frequently called “day-and-date”). Prior to this, digital comics were released erratically, sometimes as far out as 6 months after the print version, seriously undermining the ability of digital to be taken as a serious method for consumers to become engaged in specific titles. The brand new Kindle Fire tablet/e-reader, which had huge sales for the holidays, has available an exclusive set of 100 DC Comics graphic novels, along with a free, pre-loaded Comics by ComiXology app.
Before a lot of these digital announcements were made (and when most digital comics were only available through the iPad and iPhone), digital comics were showing significant growth as sales doubled for the first half of 2011. Prior to that, digital comics sales were estimated at $6 to $8 million for 2010. Print sales for the North American comic book industry were estimated at under $420 million for 2010. While still only a fraction of print, digital is still extremely young with immense potential to reach new and lapsed readers.
The New 52 hits comics stands
Much of this year was a struggle for most of the comics industry, but it seemed particularly apparent in the primary publishers of American superhero comic books, Marvel Comics and DC Comics. Those two publishers also comprise about 75% of the comic book market, as tracked through North American comic book stores, so if they’re struggling, the entire industry struggles. For the first 3/4 of 2010, sales at comic book stores drifted away.
Some retailers began to complain that Marvel and DC weren’t providing any big high profile comics to bring readers in. Through much of the 2000s, both publishers had released big summer events that consumed much of their respective lines. These big crossover events, like DC’s Identity Crisis (2004) and Marvel’s Civil War (2006), garnered some headlines from mainstream media and definitely got fans talking. Most important, it got them buying. Soon, much of their publishing strategies were built around the next event, with comics devoted to teasers, prequels, accompanying mini-series, spin-offs, sequels and so forth. It got to the point where it would literally cost one or two hundred dollars to get every issue that was part of one single event, if one was that much of a compulsive completionist (and let’s face it, plenty of superhero fans are just that). Toward the end of the 2000s, readers started to complain of what became called “event fatigue”. The never-ending cycle of an earth-shattering, teeth-gnashing crisis leading right into the next bleak crisis was losing appeal. So DC and Marvel took a break from them, although they kept publishing smaller more contained mini-events. Unfortunately, with a few exceptions, they didn’t replace these sales magnets with compelling comics that would bring readers back (or, to dream the impossible dream, bring new readers in).
So to answer retailers’ concerns, instead of innovating, they returned to the same trick: big line-wide crossover events. Unfortunately it didn’t work this time. Marvel’s Fear Itself and DC’s Flashpoint were largely met with lukewarm sales and reviews this summer. Meanwhile, Hollywood was showing that it could actually do halfway decent superhero stories, certainly more accessible, entertaining and populist than their current comics counterparts. All summer long, big screen audiences were hit by Thor, X-Men: First Class and Captain America: The First Avenger, with no compelling reason to carry any interest in the characters to comic book stores. Even DC Comics’ valiant promotion of rolling back or holding cover prices at $2.99, instead of the increasingly common and excessive $3.99, didn’t do much to turn losses around.
So it finally became clear something truly big had to be done. Waving arms around yelling “hey look!” in the traditional fashion didn’t get anyone to really notice or care, so it was time to bring back the old stand-by of adding in a hearty table flip. Just after their Flashpoint crossover had started, DC Comics announced that their entire superhero universe would be (sorta) reborn. Every series would be cancelled and an entirely new line-up of 52 comics would start over the next month. In many ways, it’s the mother of all events, and similar to a move DC Comics made in 1985 with Crisis on Infinite Earths, where their entire universe was reset for the first time. The difference this time is that there would be a clean break. Starting August 31, every DC Universe comic book was set back to issue #1, with updated costumes and streamlined origin to create a younger, hipper world of superheroes. The New 52 got a lot of press. DC’s chief executives and architects went on an aggressive tour of comic book stores to win over support of the massive gamble. They offered retailers great incentives and the ability to return unsold comics. They did interviews for radio, TV, newspapers, websites. They made TV commercials that airing on cable networks, played before movie trailers and streamed online. Yes, they did something almost unprecedented: they did real marketing to people outside of the current comics reading habit. Letting people know that something they might like exists is a foreign concept to most comic book publishers, but somehow it worked. Sales have been great. In many cases, sales of relaunched books doubled the first month of the launch. DC Comics’ market share jumped to make them the #1 comics publisher of North America for the last quarter of 2011, after at least a decade of being #2 to Marvel. Some other publishers have even reported improved sales for their own unrelated comics as a possible side effect of the New 52.
Miles Morales stars in Ultimate Comics Spider-Man #1
So the industry is saved, right? Well… not quite. Reviews have been mixed, the consensus seems to be that some books are good, some are OK, some are bad. There are concerns over excessive violence and objective depictions of females, just as there were before the relaunch. After five months, retailers are already seeing sales settling back down to how their stores were selling DC books before the New 52 launch. Unfortunately that has historically been the pattern with events. Initial enthusiasm reflects in temporary sales bumps. But without sustaining quality that speaks to larger audiences, it’s always temporary until the next big event needs to be concocted.
While Marvel hasn’t done something quite as aggressive relaunching their entire line, they have been making changes, amid a series of layoffs and cutbacks. Probably their highest profile move was their new Spider-Man, the multi-racial Miles Morales, in their Ultimate Comics imprint, also first announced in USA Today. They’ve also announced plans to release in 2012 a new line of original graphic novels updating the origins of their most popular characters. Previously swearing that original graphic novels just didn’t make financial sense to them, the move is presumed to be a response to DC’s successful Superman: Earth Oneoriginal graphic novel, released in 2010.
Both Marvel and DC also stepped up their schedules in releasing digital comics. DC announced they would release their comics on the web and mobile devices the same day their print comics are released in comic book stores the same day their New 52 began, August 31. Marvel has been slowly rolling out a similar strategy instead of a line-wide shift all at once. They announced to Gizmodo in November that by March 2012, all of their titles would be on a simultaneous digital/print release schedule (excluding licensed comics and their mature MAX imprint). Marvel was the first of the two to experiment with this kind of release. Comic shop owners have been nervous about digital stealing away customers, and their vocal protests is believed to be the reason for the staggered pricing schedule that has become standard for day-and-date digital releases. For digital comics released the same time as their print counterpart, their price will match the print version’s cover price (typically between $2.99 and $3.99). After a month, the price drops to $1.99. Both Marvel and DC tend to have sales that drop some prices to $0.99, and some issues are available for free.
Did DC’s New 52 just stall the inevitable? How will Marvel respond to regain their lost market share? How will retailers who rely on superhero comics deal with digital comics? 2012 will be an interesting year.
This has been a year of challenging transition for the Los Angeles-based comic book and graphic novel publisher BOOM! Studios. As I mentioned last year around this time, popular comics writer Mark Waid had stepped away from his role as Chief Creative Officer of BOOM! (although he continues to write Irredeemable and Incorruptible, two very strong sellers) and acclaimed writer/cartoonist Roger Langridge had wrapped up his final work on the much-loved The Muppet Show: The Comic Book. Unfortunately that turned out to be just the beginning, but the publisher has shown persistence in keeping their foothold in the industry by releasing new properties with sufficient success to cover for the properties that were lost over the year.
Irredeemable Vol. 1 (one of BOOM!'s strongest selling graphic novels)
Last December, I thought the BOOM Kids! imprint still had a lot of life left in it. But the risk with licensed properties is the owner of the licensed properties may eventually choose to not renew contracts to keep new comics coming. That’s just what the Walt Disney Company did, which resulted in the all-ages line today being entirely altered from what it was a year ago. Over this year, what had been a growing line of Disney-related comics that, in addition to the Muppets, included classic characters like Mickey Mouse and Donald Duck, beloved Disney Afternoon characters like Darkwing Duck and the cast of DuckTales, and recent stars from Pixar movies like The Incredibles and Cars, trickled away as Disney shifted their comics publishing to Marvel Comics, which they had acquired in December 2009. (Concurrently, Marvel has been releasing magazine-style reprints of a number of these stories, and early next year plans to publish its first all-new Disney story since the acquisition [although that may be a story originally published in Italy that’s simply never been published in English before].) The Pixar comics mostly ceased at the beginning of the year and the classic Disney material by July. The remaining Disney Afternoon material was allowed to wrap up throughout the Fall, with Darkwing Duck, one of the best-selling titles of the Disney material, concluding last month.
Meanwhile, in the publisher’s main line of comics, three other licensed comics that helped bring in sci-fi and horror readers concluded. Their 28 Days Later comic ran its course, ending with issue #24 (there are plans to revisit the world, although the third movie of the franchise 28 Months Later may be stuck in development). Farscape, based on the Sci-Fi Network show of the same name, wrapped up a few months later, with no apparent plans to continue. Do Androids Dream of Electric Sheep?, a faithful comics adaptation of Philip K. Dick’s short story of the same name, which served as the basis for the movie Blade Runner, also came to a close after a strong start in 2009. All three titles ended with estimated sales of 3,000-4,000 copies per issue among North American comic book stores, although they have had or are likely to have better cumulative sales over time in their collected forms as graphic novels.
Clive Barker's Hellraiser #1 (one of BOOM!'s strongest debuts this year)
As if all that wasn’t enough, a highly publicized launch of three super-hero comics somewhat sizzled out this year. The legendary Stan Lee, co-creator of many Marvel Comics characters from the 1960s, helped conceive of a trio of new titles written and illustrated by some acclaimed modern creators, but even the possibility of a new Marvel Universe couldn’t sustain the mini-line past a year. While all three titles, Soldier Zero, The Traveler and Starborn, did well initially at comic shops, sales drifted over the last 12 months. The last issues were released over the last month or so, with the material being used for a set of decent selling graphic novels.
When big names like Disney and Stan Lee don’t work out for whatever reason, it’s time to double down. And that’s just what BOOM! Studios has done this year, replacing outgoing properties with new material both familiar and brand new. They have released well-received comic books based on the new Planet of the Apes movie, a new Hellraiser comic, and an anticipated Steed and Mrs. Peel from the ’60s Avengers spy TV series by popular comics writer Grant Morrison. You’ll note in that Planet of the Apes link that they created a mini-site that includes web-comics and other material to help reach out to potential readers. That’s a new strategy they’ve been practicing well for several of their launches this year. Similar digital initiatives were done for the launches of Michael Moorcock’s Elric: The Balance Lost. They tested this idea by releasing a free PDF sample of Hellraiser through Wired.com. This savvy awareness of the online world is also being used to help out promising original comics that haven’t quite captured the best sales, as in the case of Dracula: The Company of Monsters, a horror/thriller of a modern corporation trying to control the legendary vampire. The 12 issues released so far are being serialized as a web-comic for free, and new content will eventually be added, with graphic novel collections in print to follow. It should be interesting to see if a traditional print comics publisher can succeed with a formula that works well for many original web-comics. (Avatar Press seemed to do well enough going this route with FreakAngels, running from 2008 to this past August, although it’s something they’ve yet to repeat, which might mean it wasn’t successful enough to try again.) In addition to the successful launches and web-initiatives, BOOM! Studios continues to keep their digital comics library robust. You can read most of their comics through comiXology (or through their mobile apps for iOS and Android devices).
First Peanuts graphic novel
BOOM! Studios also re-branded their kids line as kaboom! Studios, headlined by the first Peanuts graphic novel (based on the new animated special Happiness is a Warm Blanket, Charlie Brown) and a new Peanuts ongoing series. (While selling very well, new Peanuts material not from the hand of the late Charles M. Schulz hasn’t been universally accepted, as it was his wishes that no new comics be created after he died. However, he was specifically referring to the comic strip, and there is evidence of others working on Peanuts in comic books released in the 1960s. Regardless, since the Schulz Estate does not have majority ownership of Peanuts and the brand management firm Iconix does (80%/20% split), new comic books is what we get. However the comic strips appearing in newspapers today still consist entirely of rerun strips by Schulz.) kaboom! also brought Roger Langridge back to BOOM! with a new original comic called Snarked. While it lacks Muppets, it’s missing none of the humor and charm. There are also two new WordGirl graphic novels based on the PBS animated series.
It hasn’t all worked out (their Decision 2012 comics straw poll experiment fizzled out despite being a fun idea, and their promising BOOM! Town literary comics imprint with Denis Kitchen has yet to really kick in), but it’s worked out well enough for them to solidly maintain their position as the seventh largest North American comics publisher, bubbling just under 2% of the market. Considering the big changes they’ve been through and the economic tumult surrounding them, that’s no mean feat.
Happy Holidays, everyone. Now stop using the internet. That appears to be the message from a number of comics publishers, however unintentional.
On Thursday, December 22, the United States House of Representatives Judiciary Committee, chaired by Congressman Lamar Smith (R-TX), released a list of supporters of H.R. 3261, the Stop Online Piracy Act (SOPA). This bill is an attempt by lawmakers to address intellectual property security concerns on the internet. However, it has been flagged by various organizations and individuals for going too far, giving broad power without due process, limiting free speech and discouraging technical innovation. Graphic Policy has a great summary of the bill’s weaknesses and how it relates to the comic book industry. Some are claiming it could cripple social sites like YouTube, Facebook, and Tumblr, along with thousands of harmless fan-sites and any other sites sharing their IP addresses.
Among the corporations and organizations listed as supporters of SOPA are the following comic book and graphic novel publishers:
Also included is the Association of American Publishers, which counts DC Comics, Disney Publishing and more among their members.
As we come out of the holidays, many of these organizations might have to start responding to a vocal outpouring of concern among customers and partners, and in some cases, threats of organized boycotts.
There has been considerable push back already, and from public pressure some organizations have dropped their support of SOPA. The Graphic Artists Guild has retracted their support, stating “We are concerned that the bill may have unintended consequences that may do more harm than good.” They also added that they “have not spent a dime on any lobbyist in Congress for this bill”. The largest domain name registrar GoDaddy faced massive threats of boycotts, and has also reversed their position. Time will tell if more will shift their support.
(via Graphic Policy)
Comic books and graphic novels typically tell stories using panels, or little boxes, lined up one after the other in a sequence depicting different moments in time. Similarly, most calendars use boxes to visually represent the sequence of days in each month. Along comes cartoonist Chris Brandt, who noticed this similarity and ingeniously merged the two into what may be the first calendar comic book.
The Far Flung 2012 Calendar uses each month to tell a chapter in a year-long adventure of four cartoon animals. The top image serves as the splash page, and then each day of the month is one panel or moment in that chapter, just like a long comic strip. It’s a fun, funny adventure of a sheep escaping from a farm with the help of a rabbit, turtle and ring-tailed lemur. The quartet steal a car and head off for freedom and cute shenanigans!
Originally made as a 2000 calendar with a very limited print run (only 300 copies were made), Chris Brandt updated it for 2012 with an equally limited print run at the insistence of friends. But this time he’s made the calendar available as a free downloadable PDF that anyone can print out and hang on their wall to enjoy for the whole year.
More pictures are below, or check out the mini-gallery I made. For more on Chris Brandt, who is also serving as a producer with me on Dig Comics, check out his website Bainst.com.
Corey Blake 