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The first issue of Ryan Kelly, Jordie Bellaire and my just completed Image Miniseries THREE is now available to download from Image’s site. Go gets. We were all really proud of this one. It’s dense, dark, ludicrously over-researched and as a whole is one of the things I’m most proud of doing in comics.
You can buy the rest from there too, or head over to Comixology. Alternatively, if the one issue intrigues you the whole thing is available to buy as a trade in April.
Also, if you speak with my inability to pronounce THREE then THREE sounds identical to FREE. Not relevant, but a little local colour.
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And, yes, this is the first time we’ve officially said that Matt Wilson is on colours.
Oh yeah. the release.
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Finally edited up the panel from last year’s Thought Bubble where almost all the creators in the afterparty issues all gathered together to talk about the process.
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One issue actually hitting the shelves, and a few other things of note…
Several covers for Uber, but let’s go with the especially lovely wrap-around one. Well, lovely for a certain value of lovely. Uber reaches The Second Battle Of Kursk, which is the largest enhanced human conflict yet seen. And what’s Maria up to, eh?
Also, while IRON MAN 20 INH was out in the states last week, it reaches the UK this week. Its basically tying in to the whole INHUMANITY excitement that’s going on, while also forwarding the whole Mandarin plot. Preview here. Comixology here.. And if you’re looking for the cover, it’s this one.
I didn’t realise a certain little something came out last week in comic shops…
The second Young Avengers trade! Pop into any local comic shop, and they should be able to get it for you. For a few mail orders, here’s PAGE 45 in Nottingham. Here’s Forbidden Planet’s. For the Americans, here’s Midtown Comics. Honestly, wherever you get your comic books should be able to get you a copy snappy.
If you’re willing to wait a few weeks and fear and loathe comics, you can get it from book retailers too. Here’s amazon’s handy pre-order.
It makes me smile that we’ve got the New Statesman quoted on the cover. Muhahaha.
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This next, I think. I suspect this year I’ll be doing this slightly less regularly, so I’m going to pick and choose a bit more (mainly to open up time to do other things).
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There appears to be some shipping mishaps at the moment, which means that some of my books haven’t reached the UK. And, oddly, one book is on Comixology that doesn’t appear to be out on either. Let’s do it in turn.
This one’s out everywhere. After the prologue last issue, this follows the civilization as it comes to Logan. Some of my fave villains, new characters and all manner of stuff.
This hasn’t shipped to the UK yet, but is available in the US and digitally. It’s basically a single-issue that deals with how the INHUMANITY event impacts Iron Man. For those who are considering skipping it for that reason, I wouldn’t, as it’s designed as an episode in the larger story. Lots of exciting RING POLITICS. Admire artists wrestle with me asking them to show magical rings emoting herein.
And somewhat oddly, UBER 9 appears to be up on Comixology even though it’s not available on any shop. If you’re a digital buyer, you can get it here. I won’t give it a cover, as I’ll give a proper plug when it drops physically.
Hope you enjoy ‘em.
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A little behind on the Writer Notes for obvious reasons. Let’s start with the one that’s ending.
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And a preview for next week’s ORIGIN II 2, where we admire Mr Nathaniel Essex’s excellent coat.
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Over at Bleeding Cool there’s some preview art of the UBER ANNUAL #1 from Gabriel Andrade. Gabriel’s excellent. Go see.
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An atypical year but fuck it fuck it fuck it.
2013 was not a year that was lived, but survived. It was horrible, both personally and professionally. Even writing that, I want to kick my own head in. As bad as it was personally, in terms of a year where you’ve put two close family members in the ground, it was about as good as it can be. Death is inevitable, and when it comes to settle that debt, you need to have perspective. Similarly, as hard as it was professionally on every single book, there are people who’d literally kill to have a fraction of the critical and commercial success I’ve had across these twelve months. I’m enormously lucky, and I’d be a monstrous prick not to remember that.
Control matters. I can’t help how I feel, but I can certainly help how I act and the narrative I choose to tell myself.
Still: as the year inches towards its conclusion, I wanted it over and I wanted to be out. My somewhat puppylike demeanour darkened considerably. When writing for the last few months, I’ve noticed a tendency to typo “2014” when I mean “2013.” Normally, I’m the classic person who typos the previous year all spring, so my subconscious is getting the fuck out of dodge.
2014 will be better. I will be better in 2014. With any luck, I’ll even actually properly plan for 2014′s Tracks of the year list.
This is probably the most ramshackle list ever. I abandoned keeping my notes early in the year. In the days before the new year, I was working on getting The Wicked & The Divine’s first instalment into a final state, and didn’t have time to do the more serious pulling together I normally do. As such, this list is really a result of running through assorted playlists and grabbing anything which strikes a memory. I was even thinking about doing it as 30 or even 20. In the end, I got the 40.
Still. This is all good stuff, and whenever I managed to listen it sugared 2013′s pill. Or more often, dramatically lit 2013′s pill and make it look meaningful, like a vitamin advert shot by Lars Von Trier.
The rules remain the same. This is tracks of the year, which means I can grab stuff from albums if it appeals. If a track was actually released in a previous year, but received some manner of push this year as a single or something, it can appear. The normal example of that is singles from albums that came out in an earlier year, and I only ever really fell in love with during the last 12 months. If I included a track in a previous year, it doesn’t get an encore (the most obvious casualty to this rule is Icona Pop.) I only include a single track by a single artist, though occasionally bend it for guest spots. If a band has multiple tracks that could have made the list, I select one, and give it a push up the list to give them credit for multiple orgasms. You must give credit for multiple orgasms. It’s only polite.
Music wise, 2013 was about music finding me whatever way it could. Shared playlists, stuff being lobbed at me, even radio. I listened to more radio than I have for years, with Lauren Laverne’s show being part of the morning ritual on as many days as not. I didn’t do much active hunting, bar a cursory following of certain Music blogs and tumblrs. It was a year when following bands on Spotify was actually useful, for a kick when there’s new content.
On a higher pop level, it seemed a year of oddly grand statements, whether I liked them or not. Some I’m glad I didn’t like as much as I abstractly could have, so don’t have to toss over the ethics of including them here or not (Blurred Lines, amongst others). Others I adored as absolute showmanship – how Daft Punk and Bowie (and latterly Beyonce) took such contrasting and successful approaches to Event Pop is something I’m always going to connect to 2013. There’s plenty of fuel for more essays on aristocracy in pop, and the diminishing middle classes and all that.
(There’s no Beyonce on the list, as I haven’t had a chance to give it a proper spin. You don’t get to rearrange my schedule just because you’re Beyonce, Beyonce.)
Tonally, I scan down the list and bar the trashy exceptions, it’s pretty damn mopey. The soft wash of sound that I connect to some of my fave pop of the last five years turns up a lot. There’s a distinct lack of men singing in traditional “male” singer roles – perennial exception being Nick Cave. And, as it’s a list I’ve basically pulled from the ether, there’s probably more than usual that I’ve forgotten. In the end, the bottom 10 or so were the ones I found myself writing about first, with a selection of other stuff that could have easily been in. I’m listening to Parenthetical Girls Privilege now, and am doing a WISH I HAD WRITTEN ABOUT THIS TOO moment. But that was 2012 originally, so fuck it fuck it fuck it.
This is all good stuff. While 2013 felt like a bad year for me, it was a good year for music. There’s treasure everywhere.
The spotify playlist is here. I’ll add a Youtube one later. And now follows the traditional typo-adorned braindownload.
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