Links for 2010-11-15

November 15th, 2010 | brainjuice


On Joe Straczynski Sort Of Leaving Monthly Comics After SUPERMAN:EARTH ONE Made A Packet

November 15th, 2010 | comics talk

So Joe Straczynski wrote an original graphic novel (OGN) called SUPERMAN: EARTH ONE that came out a few weeks back. And apparently it’s been such a success that Joe announced that he was leaving monthly comics and focussing solely on OGNs. He later cleaned up the quote, saying:

I think the graphic novel form and miniseries, which are published monthly, is the future for me, certainly, for reasons I’ll get to in a minute, and DC believes that there there’s a coming wave in that area.

And, of course, all kinds of people have gotten their knickers in a twist about, oh noes, a creator deciding his own career and, zomg, a perceived dis to the holy fucking monthly periodical comic book single. And also HERF DERF COMIX MAEKS MOAR MONEYS AS SINGLES. Massive amounts of pixels have been expended on this. I’ve seen very few numbers that seem to completely surround the thing.

Rough numbers, then: retailer Brian Hibbs states that the regular SUPERMAN comic is currently selling 50,000 copies. It changes hands for USD 2.99. EARTH ONE is about the same length as six SUPERMAN comics, so, assuming steady sales, the equivalent serialisation would gross some $900,000 over six months. (Of course, the sales of most serialisations tail off.) (Also, I’m rounding up. Rough numbers) Those issues are of course yanked off the New Arrivals rack after one week. Some months after the serialisation concludes, they go into what is usually a paperback collection. One can only speculate what number that would do. I would suggest that, since you don’t see many news stories about SUPERMAN serial collections selling out their print runs in one month, that that number would be unremarkable.

Brian thinks the sold-out print run of SUPERMAN: EARTH ONE was between 35 and 50k. I think his numbers are hinky, but let’s go with them. Let’s split the difference and say 40,000 copies. And the print run has sold out. It’s priced at $20. So that’s $800,000. In one month. In hardback. With a reprint of the hardback to come soon, and, eventually, a printing in paperback.

That’s a smaller gross right now, using the low end of Brian’s estimate of the print run. But as soon as it goes into reprint, it clears the 900K mark and keeps going — before it has its paperback run.

Of course, if Brian’s wrong and the print run was 50k, then that’s a stone million in gross in one month. With a reprint in the lucrative hardback format and a long life in paperback to come. At which point, you start to understand old Joe’s position.

(My questions about Joe’s position certainly have nothing do to with the numbers. What I’m wondering is what happens the first time Joe writes an OGN that isn’t a new iteration of the biggest heritage brand in comics with the concomitant press coverage and bookstore push. But Joe’s a big boy — and a nice guy, we met once when the showrunner gig for the eventually aborted GLOBAL FREQUENCY tv show was being floated — and I’m sure he’s thought about that. I’m looking forward to the first original work he releases as OGN.)


Station Ident: Paul Sizer

November 15th, 2010 | station ident

This week’s station idents are provided by artist and designer Paul Sizer.

Paul Sizer’s graphic novel LITTLE WHITE MOUSE is being re-released. Go here for details on how to instruct your local comics store to order it for you.


Not Ramming Speed, No

November 14th, 2010 | daybook

Spotted in the back of one of the stables where Lili’s horse is stored. Who keeps wine glasses and, I don’t know, some kind of Soviet defibrillator from the 60s in the back of a stable? Did they jumpstart Brezhnev and then give him a celebratory mouthful of Leningrad plonk in the back there? Questions must be asked.

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Not taken with iPhone Hipstamatic app. I actually use Mill Colour, Lo-Mob or ShakeItPhoto for processing images on the iPhone. Usually. But I discovered a lovely little service yesterday called Instagram, that’s basically another attempt to do Twitter for photos. It’s iOS only right now, though I’m betting there’ll be an Android app in the first half of next year. But the joy of it is that it’s just really fucking simple. Easy ways to find people, a handful of preset processing filters to apply to your photos, simple feed of images, and you can set it up to ping in realtime. It’s so nice, sometimes, to find a little fun thing that just bloody works.

The older I get, and the less time there seems to be in every day, the more I like things that just work. I can’t imagine having to handcode a webpage again, or building workarounds and rules to get email working, or hitting a modem with a hammer to make it force-connect. Tweaking Gmail and snapping useful extensions into Chrome is as far as I want to go, these days. To the point where I’m getting unreasonably annoyed when, for instance, the Evernote plug-in for Chrome decides it wants to spin or hang or shit itself. IT’S 2010 THINGS ON THE INTERWEB SHOULD JUST FUCKING WORK NOW sort of annoyed. Which is slightly absurd. But then, of course, so am I.

Rapportive for Gmail. That’s the sort of thing I like to see. Just fucking works. Automatic look-up on anyone who emails you. Open the mail, and, in the right hand strip where the ads go, it gives you a quick precis on the sender culled from public elements of their social network entries. When I open email from people like JahFurry, I can even see their last three tweets in the Raplet window.

(I’ve just discovered that Ariana does nested labels in her Gmail. Must figure that one out.)

As you can see, I’m procrastinating like a bugger because my brain has not spun up to working speed yet. This is the sort of crap I used to pollute my mailing list with.

Hey, did you see TinyLetter? Really simple and free way to run an email list. I should totally do a newsletter again. Barantunde does! I’m going for more coffee now.


Who I Am And Where I Am (November 2010)

November 13th, 2010 | about warren ellis/contact

My name’s Warren Ellis. I write comics, graphic novels, journalism and anything else that people pay money for. I live in south-east England.

I’m the writer of the graphic novel RED, the film version of which (starring Bruce Willis, John Malkovich, Morgan Freeman & Helen Mirren) came out in October. I’m the writer of the GRAVEL graphic novels, under development for film by Legendary Pictures. I also wrote the novel CROOKED LITTLE VEIN. I extrude a monthly column for WIRED UK magazine. I have an Amazon.com page here.

I write here almost every day. A collection of the writing I’ve done here and elsewhere on the internet, SHIVERING SANDS, was published last year.

Quick links: Whitechapel (message board) – Twitteran Official Warren Ellis Page on that Facebook thinga store of Things at CafePress.

(I do have a personal page on that Facebook thing, but I only add people I know, really)

You can also find me on Instagram as warrenellis. I have a Tumblr that I pretty much only use for reblogging stuff I find on Tumblr and mirroring my Instagram posts. It’s not very interesting. You don’t want the link.

For people wanting to send me to their sites, wanting to email stuff or tell me about new music or send me tips or whatever, I’ve set up a Gmail account that I check once every day or so: warrenellis@gmail.com. This isn’t, I stress, my main email account, and it’s not for asking me when some comic’s coming out (there’s a FAQ for that). Always interested in new music, new art, new connections, dirty pictures, madness etc.

If you need to contact me about writing for print or web, please contact my agent Lydia Wills using the link in the righthand menu bar.

If you need to contact me about anything involving film, tv, games or other things that move, please contact my agent Angela Cheng Caplan using the link in the righthand menu bar.

If you (for god knows what reason) wanted to send me something physical… um, well, you can’t, right now. My book agent has gotten flooded with stuff of late, and I feel terrible about drowning them in things like that. So I’m going to sort myself out a PO Box here in the UK before the end of the year, I swear…


Links for 2010-11-12

November 13th, 2010 | brainjuice


All High Souls

November 13th, 2010 | music

I discovered Head Of Wantastiquet a few months back. Avant-banjo, mate. (Ariana’s been giving me shit for months about that term.) New album just came out. And in the middle of what I’d come to expect for Head Of Wantastiquet — great bowed washes of weird mutant wormhole Americana — there’s this. Which might prove to me one of my favourite instrumental tracks of the year. This embed should work, fingers crossed:

The album is DEAD SEAS, which is on eMusic, I presume iTunes, and amazon.com and amazon.co.uk as physical CD and mp3 download. Your preferred music dealer should have it handy, too, obviously.


Links for 2010-11-11

November 12th, 2010 | brainjuice


November 12th, 2010 | brainjuice

This week’s artist’s design game/challenge thing is up at my message board, and it’s the daftest one I’ve yet come up with: UCHRONAL ILLEGAL CHARACTER COVER REMODEL ENGINE: The Steampunk Batman. All are welcome to play.


Dark Dark Science

November 12th, 2010 | daybook

Before I forgot: Lenora Claire’s curating a lovely-looking exhibition in LA that opens this Saturday at Dark Dark Science.

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Also, I should give a line to the gorgeous witch house compilation ISVOLT from Robot Elephant Records in association with Disaro. It’s out on December 1, but I got a listen to it last night and it’s a lovely bit of curation for those of you who like the drag and groan.

I was explaining witch house to Drew Pearce earlier, and I realised I have no idea how to pronounce oOoOO. Is it "ooOOooOOOOOOH"? Like a theremin horror-movie sting? Or Oh OH oh OH OH? Which sounds like… something else entirely.

Today I have to go through a list of artists for a Secret Marvel Comics Project that probably won’t happen until next summer, and break some more of the script for weird comics thing Project Blacklight, and finish a WIRED UK column that’s a couple of days late because I simply didn’t have a good idea, and poke at the episode breakdown for the suddenly possibly-alive-again tv idea Project Plato. Yesterday vanished in a hail of phone calls and emails with producers and agents, including a lovely congratulatory phone call re: RED from Lorenzo diBonaventura, which was also odd because I didn’t do anything and he’s the one who should be getting congratulated on the movie’s almost supernatural staying power — $73.5M in the US and counting.

Heh. Just got an email from Colleen Doran containing this news story: "Japanese 3D singing hologram Hatsune Miku becomes nation’s strangest pop star." Very IDORU, and, of course, very (disturbingly) SUPERIDOL. Especially "World Is Mine." Brrrr. Dark, dark science indeed.


What I Use

November 11th, 2010 | daybook

I get asked this more than you’d think. A lot of people are under the impression that there’s a magic set of kit for being a writer, just as some people believe that there’s a degree you need to study for to become a writer. So, in the interests of having an URL to point to, here’s what I actually use to make words happen.

Computer 1 is a Lenovo Thinkpad X61 running Windows XP. It’s slowly dying, and I am either a) too cheap to buy myself a new machine or b) too terrified of having to load up a whole new machine. Pick one. I’ll very probably buy a new Thinkpad in the near future. This is the main machine that never leaves the desk.

Computer 2 is an Asus Eee netbook that lives in my bag.

Other Device is an iPhone 3GS. It lives in one inside pocket of my leather coat. In the other inside pocket is an old Nokia foldaway bluetooth keyboard. On the days when I don’t want to lug the netbook to the pub or wherever, I can still write short bursts of text or longish emails just with the kit in my pockets.

I use the Chrome browser on both computers, because it’s very fast and the browser syncs across both machines. That means that I always have my bookmarks regardless of the machine I’m on, which is important. Also, I always have single-button access to Google Reader (which also syncs to my iPhone via the Reeder app).

I write in OpenOffice, on both machines. It’s a bit clunky in places — adding page numbers should be a fuck of a lot easier — but it does the job just fine. I save all work in .rtf format: every word processor can read .rtf.

(If I’m writing film or tv, I work in Final Draft — industry standard, inextricably linked into workflow systems at a great many production houses and studios. If you want to, for example, tell a cable network to throw away their entire workflow structure because you think open source screenwriting software is cool, be my guest, but also be prepared to be called a twat.)

I often write rough drafts in Notepad, and then copy the text over into OpenOffice, which forces me to rewrite and polish.

I occasionally use Google Documents for short stuff on the fly, but I often find the word processing to be a bit herky-jerky.

I also work extensively in notebooks. I use Moleskines and Field Notes. I write with ultra fine point Sharpies, or good propelling pencils, or, sometimes, a Tuff-Writer pen I was given, because it’s actually a bloody nice pen. Be aware that I fetishise nicely designed goods, and the same results can be achieved with a Bic and a notebook bought for fifty pence from the Post Office.

And that’s really it. Which a lot of people express a sort of confused disappointment about: that there’s no special piece of software for making words happen. I don’t have a specialised template for writing comics. I write a couple of small macros for things like font changing or laying down the term (no dialogue). (I think it was Steve Gerber who taught me not to fear the macro.)

I mean, there are special pieces of software for making words happen, and friends of mine sing the praises of things like Scrivener. But I’m all for keeping it simple. The fewer things there are between my fingers hitting keys and words appearing on screen, the better it is for me.

Of course, the act of writing on a computer involves more than the software you use to write with.

Organising your other materials has importance. I use del.icio.us for storing most of my links, which regular readers know propagate back to this site as a dailyish collation. Project-specific links, and scans and snapshots, go into Evernote. Both services live as push-button operations on my browser, and I also have the desktop version of Evernote running to load local files into.

Back-ups. Oh, my god. Burning your stuff to CD or DVD is not good enough. Trust me on that. Things go wrong. Understand that Storage Will Always Fail. Always. I have a ruggedised, manly and capacious 32GB USB memory stick that can withstand fire, water, gunshots and the hairy arseteeth of Cthulhu itself — but my daughter decided she wanted to liberate one of my bags for her use, took the stick out of it and put it ’somewhere safe.’ It has never been seen again. Storage Will Always Fail.

Dropbox is your friend. 2GB of storage for free, a frankly superb little piece of software that syncs your stuff off into the cloud as easily and simply and clearly as possible. I know writers, artists and tv producers who swear by Dropbox, and so do I. I have Dropbox on both computers. If you have a smart phone of the iOS or Android type, you can also have an Dropbox instance on your phone, a fact that’s saved my arse more than once.

I also auto-sync Computer 1 hourly to Jungle Disk. Very cheap, very good. My media library lives on another storage service, Zumodrive, that lives both in the cloud and on my machine as a z:/ drive. (The Zumodrive application also lives on Computer 2.)

Also, I do all mail through Gmail. Which means that a copy of every document I send off lives in the Gmail cloud.

And every five minutes or so, a Western Digital 1TB MyBook copies everything on Computer 1’s desktop.

Paranoid? Yes. Covered? Yes.

I think that’s it.


Links for 2010-11-11

November 11th, 2010 | brainjuice


TRANSMETROPOLITAN Online

November 11th, 2010 | Work

It appears that the first six issues of TRANSMETROPOLITAN are available on the DC Digital Comics Store. These, of course, constitute the first TRANSMET print collection, BACK ON THE STREET (the newer version, that is – the original version of STREET contained only issues 1 to 3). The digital pricing of these six, taken as a whole, is probably a few Yanqui dollars cheaper than the print edition.


Seasons

November 11th, 2010 | mobilesignals

It is the season where I’m thinking about how to change things around here a bit. Spring and autumn are terrible for that. Ariana stuck a new skin on the beast. We don’t have time for a new redesign, and I like the current design just fine in any case. But I feel like it’s time for a little mutation in the way the content goes down. I said, some while ago, that I’m less and less interested in links curation, beyond the gathering of research material and finding new music I like. I should try and force myself out of the habit of always having a Blog2Post window open, and just load links into delicious for daily collation. It’s healthy, or at least interesting, to re-examine, every now and then, what a blog is for.

Dunno yet what I’ll settle on, mind you. Perhaps a more magazine-like structure, through to early Spring, anyway.

Anyhow. A bit of change here.

Sent from my outboard brain

Posted via email from warrenellis’s posterous


November 11th, 2010 | brainjuice

I meant to post this for Canadian Thanksgiving.


November 10th, 2010 | comics talk, microlog

Natasha Allegri in "not dead" shock

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Conan! What Is Best In Life?

November 10th, 2010 | photography

“Keeping a sword handy!”

(The annual Phuket Vegetarian Festival always brings out the determined and intrepid. This is probably less hardcore than some of the genuinely mental stuff I’ve seen in previous years.)


November 10th, 2010 | Work

My bookseller friend Marie shot me this on her way to work in Paris this morning. Amused by the jaunty logo.

The film’s still doing pretty well, by the way: #4 in America last weekend, with a US cumulative of some $73M at this point.

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November 10th, 2010 | microlog

Read back Laurie Penny’s twitter feed today: she was on the ground at the NUS protest in London today.


SF MAGAZINES: REALMS OF FANTASY Lives Again, Again

November 10th, 2010 | researchmaterial

So REALMS OF FANTASY died in ’09 from lack of newsstand sales, and was bought by one of Warren Lapine’s new companies. Lapine, who ran a cheapo mini-empire of sf/f magazines that fell apart amid claims of financial impropriety, claims to have put more than USD $50K into the relaunch of the bi-monthly. And it died again a month or two back. And now it’s been bought again, by an operation called Damnation Press whose rep doesn’t survive even the most cursory of googlings. Tobias Buckell has collected a lot of them. If, for whatever confused reason, you’d like to submit your fiction to a magazine with the healthful glow of a 1970s Soviet premier, I would suggest you read Mr Buckell’s collation before making your mind up.


Back At The Desk

November 10th, 2010 | brainjuice

And very nearly back at work, once I banish the dust and fog from my brain. Lots to do, including some tuning here.

Here’s a photo by Florence Chan.


Moon Wiring Club – The Jayston Mix

November 10th, 2010 | music

Once again, fine curation from the people at Pontone: a new mix by Moon Wiring Club (originators of the phrase “Confusing English Electronic Music”). The Club is sinking deeper into hermetic sound collage, an authentic Summoning of that strange zone where electronic music rubbed against science fiction, atmosphere was more important than narrative and no idea ever had a budget larger than twenty quid.

Myself and the Club spent part of yesterday discussing that peculiar frustrated scream that Orac used to emit when shut off, and the way the guns in BLAKES 7 sounded like a sick donkey farting.

This mix includes Peter O’Toole and Leonard Rossiter.