* Rob Bricken explains why you may or may not want to buy the Star Wars blu-ray box set. He’s on the fence, but his comprehensive assessment of all the set’s features, pro and con, ought to give you enough information to make up your mind. For me it’s a clear no. I don’t begrudge George Lucas the opportunity to endlessly tinker with the world he created. The guy built an entire industry with his imagination, and owns the rights to all of it, a fate that has eluded almost all of his antecedents and very few of his descendants. I’d guess that getting to constantly refine and mess with what you’ve built has got to be unimaginably delightful. But speaking personally, I’m not interested in seeing the tinkering — I’m interested in seeing the versions of the films that made me like them in the first place. I’m certainly not interested in rewarding a series of decisions/revisions/additions/subtractions that have made them worse films.

* While we’re on the subject of customer-independent film-industry business decisions, I find yesterday’s letter of apology cum backdoor announcement of a major overhaul of his entire company from Netflix CEO Reed Hastings maybe the most uniquely bizarre such move I’ve ever seen. People like Endgadget’s Darren Murph and Slate’s Farhad Manjoo are probably right about the underlying strategy: a sort of preemptive amputation of the company’s beloved DVD direct-mail business model, prepping for its eventual destruction on the company’s terms rather than dealing with it over a prolonged period on the market’s terms. In this light, everything that looks stupid or awful about the announcement is a feature, not a bug: Using an attempt to staunch customer-base and stock bleeding caused by the company’s last poorly handled major change as an opportunity to announce an even more complicated and infuriating business model; slapping the newly spun-off DVD business with a ridiculous name, Qwikster, that sounds like a failed Internet startup from ten years ago; spending a significant chunk of time explaining how much more user-unfriendly the new set-up will be; maintaining a sad-sack hostage-tape demeanor throughout the entire affair. But to me this only makes sense if all the damage were completely contained within the customer base for the red-enveloped stepchild DVD business, and it obviously isn’t. The Netflix-proper streaming customers got this letter and marveled at its lugubriousness, prolixity, and lack of understanding of what “apology” means along with everyone else. Maybe some next-level business mind can explain to me why deliberately making yourself look bad and your company less useful for nearly all of your customers, publicly, twice in a row, is actually four-dimensional-chess checkmate, but I don’t see it. I can tell you that the only thing that stopped me from cancelling my Netflix/Qwikster account yesterday is feeling like I need to get a return on my investment in having rented the same two unwatched Mad Men discs for the duration of my wife’s pregnancy and our child’s subsequent first six months of life.

* Here’s a photo of Tom Neely, Lisa Hanawalt, Johnny Ryan, and Benjamin Marra from the SPX panel I hosted, “Excruciating Detail: Drawing the Grotesque.” They seem to have enjoyed it, which is nice. Both this and the Craig Thompson Habibi panel I moderated were filmed, so I’m hoping I’ll be able to link to the video soon.

* Frank Santoro will teach you comics by mail.

* S.H.O.O.T. First writer Justin Aclin once pointed out to me that the comics equivalent of Seinfeld‘s white-hot contempt for the elderly is Axe Cop‘s naked loathing of babies. In that light, the current Axe Cop storyline is the equivalent of any episode centered on Del Boca Vista or the Costanzas.

* Tom Spurgeon’s review of The Intrepids #6, a comic I haven’t read, also functions as a review of, really, the vast majority of superhero and superhero-ish comics today, many of which I have read. “Ruthlessly familiar” is just about right.

* This Adrian Tomine print is really really hot stuff. Sexiness has always been one of his comics’ secret weapons.

* Check out the colors in this Michael DeForge comic.

* Dave Kiersh keeps posting his old comics and art, which keep being one of the great hidden treasures in all of comics.

* Hans Rickheit made Cochlea and Eustacea puppets, which aren’t at all disturbing.

* Alisa Kiss as Red Sonja, photographed at Dragon*Con by Anna Fischer. “I just want you boys to see what you’re fighting for, that’s all.”

* It’s awful that anyone can have the last word on Dylan Williams, but if it has to be that way, let it be Tom Spurgeon.

* My latest Say Hello! column is up at The Comics Journal. This time I interviewed Jumbly Junkery‘s L. Nichols.

* I’ve collected some powerful tributes to Dylan Williams over at Robot 6.

* I’m pretty bummed that I missed out on getting David Bowie sketches from Craig Thompson and Chester Brown at SPX this past weekend, so you can bet your ass I’m camping out days in advance to get ’em from next year’s guests of honor, Chris Ware and Dan Clowes. The show’s expanding its floorspace next year, which is a good thing — with those two there, they’ll need it.

* Chris Mautner reports on his haul of comics from the show. I too was pleased to see a new Kevin Huizenga minicomic. Speaking frankly, I didn’t feel a lot of energy from that segment of the comics at the show. Most of the stuff I was excited to read, from Big Questions and Habibi to Forming and Pure Pajamas, came from the established publishers. Meanwhile, reliable makers of really good minis like the Closed Caption Comics and Partyka collectives were MIA, and I didn’t really make any discoveries that made up for their absence. It was the one flaw of an otherwise very successful show, I thought.

* Kevin Czapiewski’s con report was an uplifting read. SPX has a well-deserved reputation for being a fun show to hang out with your fellow comics people, but Kevin argues persuasively that this provides not just a pleasant weekend, but a form of creative/spiritual sustenance.

* The Descent director Neil Marshall is directing the pivotal “Blackwater” episode of Game of Thrones Season Two, from a teleplay by George R.R. Martin himself. That’s pretty damn exciting.

* Why did Gabrielle Bell take down her daily diary comics from July?

* Ron Regé Jr. is raising money to help support himself as he completes his next book, Fantagraphics’ The Cartoon Utopia. That’s a gorgeous…cover? Promo image? Gorgeous regardless.

* Lisa Hanawalt has a strange imagination.

* BREAKING: I love Jonny Negron.

* The Divine Invasion is the website put together to auction off art and comics to help pay for Dylan Williams’s cancer treatments, and it’s quite striking. It’s moving to see what a wide range of comic book people have contributed, from Periscope to PictureBox, from Matt Fraction to Michael DeForge. That money is still needed, so please bid if you see something you like.

* Here are your Ignatz Award winners.

* Top Shelf’s holding its annual $3 Sale as we speak. At the link you’ll find my recommendations for how to spend your money. Kolbeinn Karlsson’s The Troll King for $3 is basically the deal of the year.

* Tom Devlin spotlights Pure Pajamas, the new collection of comics from Marc Bell. Marc Bell comics are by far the best Marc Bell anythings, so I’m excited to read this. Tom reports that Bell may be working on a graphic novel for Spring 2013, too.

* Kiel Phegley interviews Jaime Hernandez in video form.

* Highly relevant to my interests: The Descent/Doomsday director Neil Marshall will be directing an episode of Game of Thrones Season Two. Oh, indeed.

* You can find all of Tucker Stone’s pieces on Darko Macan and Igor Kordey’s late, lamented Cable series Soldier X right here.

* Brian Chippendale reviews Justice League #1, Animal Man #1, and New Avengers Annual #1 as only he can. UPDATE: Brian says the post wasn’t finished and went up accidentally; expect a reboot sometime next week.

* My Robot 6 colleague J. Caleb Mozzocco reviews (among other things) Anders Nilsen’s Big Questions and Brian Ralph’s Daybreak.

* Scott Tobias’s New Cult Canon column on Edgar Wright’s Shaun of the Dead for the Onion AV Club is good, but the best part is this line about what Wright and Pegg do: “If you ever wonder what’s missing from a Kevin Smith film, watch one of theirs.”

* God, I love it when Dave Kiersh posts his old comics.

* I’m excited to (one day, probably years from now at this rate) see David Cronenberg’s A Dangerous Method. Kiera Knightley looks older and somewhat fleshier and kind of tired in this promotional picture, which as it turns out is a very good look for her.

* Drawn & Quarterly is debuting Adrian Tomine’s new Optic Nerve issue at SPX. It’s weird to me to think that there’s only 12 issues of that series, and that many of them came out in the ten years or so I’ve been following comics, because Tomine’s one of those guys I’d heard of forever. But he started hella young.

* ADDXSTC fave Jonny Negron is part of a new anthology series called Chameleon, debuting at October’s Alternative Press Expo.

* Speaking of Negron, and when aren’t we around here:

* And speaking of ADDXSTC faves, Uno Moralez has posted another of his nothing-else-out-there-like-’em image/gif galleries.

* AdHouse will be publishing American Barbarian, the Kirby-meets-’80s-B-movie-apocalypse action comic from Tom Scioli. It’s AdHouse, so you know the book’s going to be a thing of beauty.

* The good news: Taiyo Matsumoto’s No. 5 is now available to read in English on your iPad. The bad news: Said English was typeset in Comic Sans, apparently.

* Here’s a fine Douglas Wolk review of Anders Nilsen’s masterful Big Questions for the New York Times.

* Tucker Stone has begun a series of posts on Darko Macan and Igor Kordey’s Cable/Soldier X, one of my favorite superhero comics and one of the few uncollected treasures of the past decade or so of superhero comics.

* Saving this for when I can savor it: Inkstuds’ Robin McConnell interviews Craig Thompson about his staggeringly ambitious new graphic novel Habibi. I’ll be speaking to Craig about it in his spotlight panel at SPX this weekend, by the way. See you there?

* One of the many nice things about having Tom Spurgeon back in action is that he can do lengthy, gem-packed industry analysis pieces like this one on the DC Comics relaunch. You can chew on this sucker all afternoon.

* I’m also with Tom that publishers should release better sales figures than they currently do, which is to say they should release sales figures at all. The funny thing is that when confronted with the sales analyses that folks like ICv2 and John Jackson Miller and Marc-Oliver Frisch and Paul O’Brien put together, oftentimes publisher representatives will dismiss them and the conclusions drawn from them by saying those numbers aren’t nearly accurate and don’t provide the whole picture. Well, there’s a solution to that problem, and it ain’t “don’t talk about the numbers unless it’s to echo vague sellout announcements we make.”

* Finally, Tom rounds up publisher and creator reactions to the apparently imminent closure of Atlanta’s Criminal Records, an independent record store and alt-friendly comics shop of long standing, of the sort that was integral to the formation and self-conception of “alternative comics” back in the ’90s. Aside from being sad about the cost to the store’s employees, and to the labels and publishers and artists for whom it was a great partner, I’m also sad about the death of that scene. I feel like when I look around lately I see a lot of the energy that used to go into alternative comics as made by one-time Criminal Records visitors like Dan Clowes, Pete Bagge, and Los Bros Hernandez diverted into an alternate comics universe where Heavy Metal‘s influence is stronger than RAW‘s. But that’s probably got as much to do with where I’m looking as anything else.

* Ta-Nehisi Coates’s long war against the bullshit notion of black Confederate soldiers rages on.

* This list of good and lousy cartoon-only He-Man/She-Ra/Masters of the Universe characters reminds me that that toy line and cartoon did more weird things before breakfast than most toy lines and cartoons did all day. This is an absolutely killer killer-robot design, by the way.

* I wrote a well-received post on feminism and A Song of Ice and Fire over on my ASoIaF tumblr, in response to this pretty bad piece by Sady Doyle and this very good one by Alyssa Rosenberg. Spoilers abound at all three, so be careful. Related, and less spoilery: my big problem with the way the non-Western cultures in A Song of Ice and Fire are portrayed.

* Jeez, the hits just keep on coming in the comics world: The Center for Cartoon Studies’ library was flooded during Hurricane Irene. The books are basically okay, but the building’s screwed.

* On the Sparkplug/Dylan Williams front, Chris Mautner recommends six Sparkplug books you should consider purchasing to a) help out, and b) read great comics.

* And in happier news, this is a terrific idea: The Library of Congress is creating the Small Press Expo Collection, which will permanently archive all of the Ignatz Award nominees and select self-published books and minicomics.

* And if you enjoy alternative comics in the slightest, Rob Clough’s Top 50 Comics of 2010 is well worth your time. You’ll find a lot of the usual suspects on here, and he and I have a lot of overlap, but he orders things in an idiosyncratic way that will make you think about what you liked best and why.

* George Lucas added a bunch more nonsense–and I mean that, it’s nonsense, it’s stuff that it doesn’t really make sense to add–to the Blu-Ray editions of the original Star Wars trilogy. I’m in broad agreement with what Rob Bricken says about this at the link. It’s perfectly fine for George Lucas to do whatever he likes with his movies. He doesn’t owe me anything. It would just be nice if I could own a nice hi-def copy of the movies I loved growing up as they existed when I was growing up.

* Brigid Alverson put together a highlight reel from a recent Dan DiDio/Jim Lee interview about the rebooted DC Universe and its concurrent digital-comics initiative.

* Jeez, Sam Humphries sure knows what he’s doing.

* Zak Smith/Sabbath on what Rem Koolhaas can tell us about Dungeons & Dragons. (Now that’s a tough sentence to top.)

* William Monahan, the guy who adapted The Departed is doing a draft of Frank Miller’s Sin City 2 script. Sure, I’ll eat it.

* Here’s the cover and creator line-up for Thickness #2, the latest issue of Michael DeForge and Ryan Sands’s alt/art smut comics anthology series.

* Both Rolling Stone’s Matthew Perpetua and Pitchfork’s Tom Breihan interviewed the Rapture’s Luke Jenner about his band’s comeback album, and he comes across like a mensch in both. He’s quite candid about why former co-frontman Mattie Safer left the band following his own return to it after he himself quit a few years back, but Safer emerges as a sympathetic figure too. He thought he was now the undisputed leader of the band, and then that was taken away from him. You can easily see how that would weigh on a guy.

* Jonny Negron is a talented person.

* This is what Ben Katchor used to draw like!

* Now and forever the King. (Additional thoughts.)

(A quick programming note: Though a hurricane-related internet outage appears to have resolved itself as mysteriously as it started (on Monday morning, well after the winds from a hurricane during which we never lost power or cable had died down), I’m still having some unrelated computer problems, as well as spending a lot of time writing for other outlets. So if you don’t see me here as often, that’s why.)

* Publisher Dylan Williams of Sparkplug Comic Books is battling cancer without medical insurance. Please help him out in the best possible way: Buy some Sparkplug comics. I posted some recommendations at Robot 6, along with some thoughts about just how unique and valuable a publisher Sparkplug really is. Meanwhile, Floating World is holding a two-day benefit sale, if you live in Portland and/or are a Phillip K. Dick fan (explanation at the link).

* What a horrifying story: Syrian security forces abducted, beat, and broke the hands of political cartoonist Ali Ferzat before dumping him on the side of the road. The mafia-like cruelty and chutzpah of Bashar al-Assad and his underlings on display in this attack really takes the breath away. I wonder if this is a case the Comic Book Legal Defense Fund can help out with in some way.

* Bummer: The great film scholar Kristin Thompson won’t be writing the Hobbit-centric sequel she’d planned to The Frodo Franchise, her book about the multimedia business of turning The Lord of the Rings from a book to a movie to a cross-platform empire. She’s also shuttering her ongoing blog on the subject.

* John Porcellino on the things he learned from redrawing one page of the Kirby/Lee Fantastic Four.

* Jason Adams on Trollhunter, which seems like a hoot and a half. After the unrelenting stream of insectoid aliens, J-horror knockoffs, and corroded/decrepit slasher/torture baddies, it’s just such a pleasure to see a monster that looks different from all of the other monsters.

* It’s like Nick Gazin reached into my head and pulled out the exact words I’d have used to describe the Smurfs movie.

* Guy Perez’s cover version of Al Plastino’s Superboy #6 cover is my favorite Covered contribution in a long time.

* I hereby invite you to read “Bongcheon-Dong Ghost” by Horang, one of the scariest webcomcs I’ve come across in a while. Leave your speakers on. More about the comic at Robot 6.

* Sammy Harkham, Edie Fake, and Michael DeForge lead a strong slate of Ignatz Award nominees this year. Who knows — maybe the voters will throw the obviously undeserving Chris Ware a pity win.

* Here’s the latest in a series of dispiriting interviews with the gifted superhero comics writer Grant Morrison. It’s related to this Rolling Stone profile, which in turn is accompanied by this quite good “best of Grant Morrison” list by Matthew Perpetua.

* The large Arizona comics retail chain Atomic Comics has abruptly gone out of business, with owner Mike Malve filing for bankruptcy. Comics people I talked to about this today were pretty freaked out.

* In a rare return to his home turf Jog the Blog, Joe McCulloch presents a short bit of (also rare lately) writing on art comics, among other things, with his Top Ten Comics list.

* Tucker Stone really liked Ryan Cecil Smith’s SF #1. I liked it too.

* Secret Acres’ Barry and Leon present their PACC con report. They also note that Dylan Williams of the very valuable comics publisher Sparkplug is ill, which I’m sad to hear. Get well, Dylan!

* Wow: Tom Neely is working on one of Matt Maxwell’s Western-horror Strangeways comics.

* Here’s a neat-looking project from Split Lip writer and nascent-horror-blogosphere veteran Sam Costello and artist Neal Von Flue: Labor and Love, a collection of four comics adaptations of American folk ballads. It debuts at SPX.

* Zak Smith on the most disturbing room in D&D.

* Matt Rota draws the Republican Party in action for the New York Times.

* Jerry Leiber, half of the Leiber/Stoller songwriting team, has died. What a monstrous talent.

* Jim Hanley’s Universe is the best comic shop I’ve ever been to. Ten years ago, my adult life in comics began there, when I paid a visit to pick up Grant Morrison and Frank Quitely’s New X-Men on a whim. It’s been my “local comic shop” for most of the rest of the decade. So I was stunned and sadden to hear that Hanley’s Staten Island branch was all but swept away by flooding this past weekend. All that they’re asking in terms of help is that you drop by either branch and buy something, so today I stopped in and picked up Jesse Moynihan’s Forming Vol. 1 from Nowbrow and Alan Moore & Kevin O’Neill’s The League of Extraordinary Gentlemen Vol. 3: Century #2—1969 from Top Shelf. Spending forty bucks on comics has rarely felt so good. If you’re in the city, please support this wonderful store.

* If you care about Beck or what used to be called alternative music at all, you definitely want to read Ryan Dombral’s career-spanning interview with Beck at Pitchfork. What a thoughtful, honest guy he seems like. I was heartbroken to read that he lost two years’ worth of Sea Change-style music — 35 songs in all — when he misplaced a suitcase full of recordings prior to shifting gears and recording Guero with leftover ideas from the Dust Brothers, but even more horrifying is that apparently he’s never heard anyone talk nicely about his masterpiece, Midnite Vultures, and thus is sitting on 25 songs recorded in the same period. This is a travesty. From now on, if you see Beck, tell him you loved Midnite Vultures.

* Clive Barker has a prose essay collection out? Or coming out soon? Called The Painter, the Creature, and the Father of Lies? Nice.

* Say, did I mention that ADDXSTC-fave bloggers Jim Henley and Bruce Baugh have a new RPG blog called 20 X 20 Room? Probably not, since despite one or the other of them telling me so, I only really realized it yesterday. Well, now you know. They’re two of the smartest and most humanistic writers on gaming and genre art around, and you’d be hard pressed to find two bloggers more influential on my non-blogging life than they.

* John Porcellino presents his personal Top Ten Comics. It’s a pleasure to hear the great cartoonist talk about some of the other great cartoonists (Clowes and Kirby get two books apiece), as well as some off-the-beaten-path choices.

* Kevin Czap of Comix Cube reports from the Philadelphia Alternative Comics Convention, a well-regarded newcomer on the regional alt/art show scene. I don’t think there’s any reason why every city with a decent-sized number of alternative cartoonists can’t put together something like this, even if the result doesn’t end up with the high profile of a BCGF or Stumptown or TCAF or whatever.

* Benjamin Marra crushes the competition with this New Gods tribute. Omega Effect annihilation. MARRA IS!

* Speaking of Ben, who I remind you I’ll bless him for digging this up. It’s like He-Man and Skeletor are fighting in the middle of an issue of Cold Heat.

* I don’t know who Steingrim Veum is, but he sure can draw orgies. This is wonderful stuff. (Via Tom Spurgeon.)

* Aeron Alfrey has put together another astonishing art gallery for his site Monster Brains, this time starring pulp cover artist Hannes Bok. In addition to stippling that’d make Drew Friedman jealous, Bok makes his otherworld creatures and scenes truly otherworldly. If there’s one thing we’ve lost from decades of seeing monsters come to life on movie screens — and don’t get me wrong, I treasure a lot of those monsters — it’s their uncanniness. It’s very very rare to see a monster that makes you feel like you’ve endangered yourself simply by seeing it.

* Tremendous interview with Anders Nilsen about Big Questions by Alex Dueben on CBR. “It’s my newest book, but it’s also my oldest.” Wow, can you imagine? Big Questions was the first comic Nilsen ever did, and it’s about to be released in its finished 600-page form.

* Some of the Harry Potter movie people are working on a deal to make a mult-movie adaptation of Stephen King’s The Stand. That could certainly be very good, though in all likelihood it’ll be overwrought and mediocre with interesting moments like most big Hollywood versions of good ideas these days.

* The House Next Door’s Sumanth Prabhaker on Grant Morrison’s historicist reading of superhero comics, including his own, in Supergods.

* Filing this away for when I’ve read the book: Hayley Campbell reviews Like a Sniper Lining Up His Shot by Jacques Tardi and Jean-Patrick Manchette for The Comics Journal.

* Apparently Julie Doucet’s cat carrier has sat at the bottom of the back stairs of the Fantagraphics office since 1993. This fits very well with my preexisting mental picture of the Fantagraphics office.

* Well this is certainly a great ad for The Beguiling that Michael DeForge drew. How many characters do you recognize? I got all but three or four, I think.

* Uno Moralez is creepy and sexy.

* Jonny Negron goddamn

* Yow–this new group sketchblog Ashcan All-Stars is doing Sin City and doing it well. In order: James Stokoe, Moritat, Sheldon Vella.

* No, seriously, it’s uncool how much I’m enjoying The Walking Dead‘s woes. They’ve all got mothers, you know?

* If there’s one thing HBO knows how to do, it’s make trailers that make their shows look like the baddest things ever. Boardwalk Empire is pretty great regardless, though.

* Click here to find a list of my ten favorite comics, more or less.

* My friend and collaborator Matt Rota has an art show opening up on Saturday, August 13 at L.A.’s Copro Gallery. The art in it looks like this:

* Jeez it is a pleasure to witness Joe McCulloch’s return to writing about alternative comics, specifically one of my top three favorite cartoonists and one of the very best comics short stories of all time: Phoebe Gloeckner and “Minnie’s 3rd Love.”

* Meredith Gran on the importance of supporting women cartoonists buy paying them to draw comics.

* Ben Morse on the best of Ultimate Spider-Man, which has been a very good comic for more than a decade.

* The degree of schadenfreude I’m feeling from The Walking Dead TV show’s behind-the-scenes woes is unseemly.

* Six ancient things that were probably built by aliens. Nearly a decade and a half after I first read Illuminatus! and 20-25 years after I first heard of Stonehenge and Atlantis and Easter Island and so on, this kind of thing still gives me chills.

* There’s not a whole lot in comics right now more fun than the way Dan White draws Cindy & Biscuit launching themselves through the air at monsters they’re about to dispatch

* I can certainly support the idea of Miles Fisher as a male, American, horror/parody-video-making Robyn. (See also.) Bonus points for casting Steffi from The Bold and the Beautiful in the Kelly Kapowski role and the closing homage to Hellraiser III. (Now there’s a sentence I never thought I’d write.)

* I literally cheered for this piece by the Comics Grid’s Katlheen Dunley on Ben Katchor and the world as a palimpsest.

* Chester Brown’s Paying For It: The Movie is probably not gonna happen.

* Jordan Crane’s The Last Lonely Saturday: The Movie actually has happened!

* My Spider-Man is black.

* News flash: Fantagraphics’ Jacob Covey-designed Carl Barks Disney Ducks comics are going to be very attractive.

* Tom Spurgeon’s description does a terrific job of selling Bill Mauldin’s Willie and Joe Back Home, but really, the cartoon on the cover speaks volumes. Can you imagine seeing this at the time? Lately it has seemed to me that deflating America’s self-image of World War II and its aftermath is vital to the country’s long-term health, and man, is this a shot to the face of those notions.

* Maybe I should just outsource this whole blog to Jonny Negron.

* And speaking of ADDXSTC “Hey look at this art” favorites, I don’t know if this Wei Yan piece is an homage to similarly formatted Renee French drawings, but either way, very nice.

* I won’t spoil the latest Zach Hazard Vaupen gag comic for you. Vaupen’s Rusted Skin stuff is fascinating to me, because comedically it’s totally gag comics, but visually it’s not at all. There’s nothing else like that.

* Okay, a Batman video game in which you have the option of playing as Frank Miller’s Dark Knight Returns Batman is a Batman video game I’d enjoy playing, but only if playing as that Batman.

* You know, it’s been way, way too long since I simply looked at a picture of Katee Sackhoff and went “guh.” Guh.

* Daybreak author Brian Ralph is doing a diary comic about his time at the San Diego Comic-Con this year for The Comics Journal. So far, so great. It starts off jaunty and funny and actually kind of uplifting, until, thanks to cameos from Tom Devlin and Peggy Burns and some personal revelations, it suddenly starts feeling like an outtake from A Serious Man.

* And here’s a nice interview with him at Giant Robot, too. (Via Drawn & Quarterly.)

* Now you can watch the Hernandez Brothers spotlight panel at San Diego from the comfort of your own home, courtesy of The Comics Journal!

Love & Rockets from The Comics Journal on Vimeo.

* And here’s a brief history of Fantagraphics courtesy of CBR’s report on their 35th Anniversary panel.

* The Hooded Utilitarian is posting the results of its first-ever critics poll on the 115 best comics ever. I chipped in a list, which you’ll see eventually.

* Tom Spurgeon, Steve Bissette, and Tom Spurgeon again on the Marvel/Kirby case.

* Jason Adams reviews several recent-ish movies of semi-note: The Devil’s Double, Cowboys & Aliens, Crazy Stupid Love, and Sucker Punch. I’m with him on Zack Snyder’s action choreography — it’s nice to be able to tell what’s going on and what happened to whom when a punch is thrown.

* Michael DeForge turned 24 today; to celebrate, he posted afreakingnother terrific comic page.

* Lovin’ that Jonny Negron.

* Finally, this essay hit me where I live: Middle-school history teacher Dwight Simon on all the ways we teach children to love war. The points on violence as a vector for redemption and violence as a supra-religion were depressingly on point. (Via Andrew Sullivan.)

* I’m impressed by DC’s response to the recent debate over the number of women creators it employs. Anyone who says “Well they had to say something, it was bad PR” has obviously not been following the comics industry very long. When you ask someone publicly to do something, and they say “You’re right, we’ll try to do better on that,” that’s a really good thing, especially on an issue like this. Good for DC.

* Grant Morrison in conversation with Neil Gaiman. A fun quote from Gaiman about Morrison: “Whenever I see you now, you are this glorious bird of paradise, but I remember, just as for you I will always be a nervous, hungry young journalist, I remember you as a kid in a black raincoat, incredibly shy. The thing that would get you animated was the point where you’d start talking about a story, and you would come to life.”

* There’s a Marvel/Gary Friedrich lawsuit going on over Ghost Rider right now as well.

* It’s always fun and informative to hear Tom Brevoort talk about how the sausage gets made.

* HBO execs talked about Game of Thrones in a reasonably interesting fashion recently: They’re standing very firm on the 10-episodes-per-season issue, which is unfortunate, but other than that they seem very supportive of a long run and not apt to try to cram too much material (i.e. the entirety of the fatter volumes) into a single season as opposed to spreading it out.

* RoboCop vs. Transformers vs. Hanawalt vs. Harbin.

* Uno Moralez is really one of the best.

* Funny stuff and sexy stuff from Michael DeForge.

* The Sylvester Stallone Character Name Generator made me laugh very hard. (Via Mike Barthel.)

* Jack Kirby’s heirs have lost their copyright suit against Marvel, which centered on whether or not Kirby’s creations/co-creations for the company constituted work for hire. The judge ruled that they did: “If it does [constitute work for hire], then Marvel owns the copyright in the Kirby Works, whether that is ‘fair’ or not.” One of the few nice things you can say about “nerd court” is that in nerd court you can concentrate on whether or not a thing is fair. Anyway, in the real world it’s not clear to me whether this is something that can now go to a higher court or whether this settles the matter.

* Recently on Robot 6:

* Gilbert Hernandez will be returning to Palomar with a story in Love and Rockets: New Stories #5, out next year. That surprised me, given his recently expressed feelings about his Palomar material, but I’m as happy about this as I am about any new Beto comics.

* Jordan Crane’s new kids’ book Keep Our Secrets uses heat-sensitive color-changing ink to reveal hidden images. Jordan Crane is pretty amazing, basically.

* Listen to an audio clip of Dan DiDio addressing the number of women creators at DC right now. Check out Laura Hudson’s column on the subject, too. Remember, “We have to stop thinking of it as a quota thing and think of it as a common-sense thing.”

* Marvel is once again offering a variant cover for one of its event comics in exchange for unsold copies of DC’s event comics. Almost everything about this story and all the arguments for and against it is funny to me.

* Grant Morrison spitballs an Atom revamp in which a limit to his size-shifting abilities serves as a parameter for individual adventures. Sure, I’ll eat it.

* The Comic-Con organization’s WonderCon may be moving from San Francisco to Anaheim due to initial scheduling constraints, though as CCI’s David Glanzer tells Tom Spurgeon at the link, it’s far from a done deal because San Fran has changed its mind about the scheduling thing. I hate to see a nice city like San Francisco lose a show, but at the same time you have to imagine that operating a con in Los Angeles itself (more or less) would make a lot of sense for the organization.

* Jeet Heer reviews Ben Katchor’s The Cardboard Valise for the Los Angeles Review of Books. I like that he focuses on the very nearly physical pleasure of reading Katchor comics, as immersive an experience as contemporary comics offers. (Via Tom Spurgeon.)

* J. Caleb Mozzocco’s Robot 6 review of Chester Brown’s Paying For It describes Brown’s appearance in the book as “a grim, expressionless little bobble-headed skeleton…like Harold Grey drawing of the male half of the couple in Grant Wood’s American Gothic.” That’s worth the price of admission for the review right there.

* This is fun: My pal T.J. Dietsch, a total newcomer to the work of Jim Woodring, decided to try Weathercraft. It was a successful experiment. T.J., try Congress of the Animals next!

* I was quite happy to discover Jason Sandberg’s “Kurtzberg” series of paintings at Kirby-Vision, which pay homage to Jack Kirby yet have a static surrealism all their own. You can find more by scrolling through Sandberg’s site.

* Jesus, someone made animated gifs out of Junji Ito’s Uzumaki. Why you do dis to me, Dimmy? Why?

* Finally, I had no idea that there was a dispute over who created my beloved He-Man and the Masters of the Universe. That’s the subject of the documentary Toy Masters, which also chronicles the behind-the-scenes strife between the makers of the television series (J. Michael Straczysnki among them), who saw the job as no different from any artist’s or entertainer’s, and the makers of the toys upon which the show was based, who saw the show as a 30-minute commercial. Errol Morris it ain’t, stylistically speaking, but it’s fascinating if you’re into He-Man and probably still pretty funny if you aren’t. (Via Topless Robot.)

* This report on the Gilbert, Jaime, and Mario Hernandez spotlight panel at Comic-Con from CBR’s Sonia Harris makes for fascinating reading. All three brothers are really astute commentators on one another’s work.

* Kevin Czapiewski talks about one of my favorite things about Jordan Crane’s comics: his pictogram sound effects.

* Don’t let Nick Gazin’s short sell in the intro fool you: His interview with Jonny Negron for Vice is fun and informative, and contains a lot of Negron art I haven’t seen to boot.

* Hey, Vasilis Lolos is finally working on a second volume of Last Call! Now whatever happened to The Pirates of Coney Island?

* The more Walking Dead Season One staffers leave, the more I’m tempted to watch Walking Dead Season Two.

* I posted Tom Brevoort’s comments on fan entitlement on Robot 6, and to my surprise, the ensuing comment thread largely cosigned his statement, as well as similar recent sentiments from Grant Morrison and Bryan Lee O’Malley. I thought about all this stuff today while flipping through Morgan Spurlock and Alba Tull’s surprisingly delightful photo book Comic-Con Episode IV: A Fan’s Hope. The vision of Comic-Con and nerd culture presented in that book is, I’m sure, baffling or even troubling to some comics readers — cosplay, not comics, is its centerpiece; at a glance I’d guess Hollywood personages outnumber comics creators and publishers; and Tull’s portraits of Moto Hagio share a page with her pictures of Gareb Shamus. That said, it’s a picture of Nerd Triumphalism that is, in fact, triumphant. It’s not a bunch of angry, snarky naysayers insulting people and poo-pooing books and movies that haven’t even come out yet — it’s a vibrant, diverse (lots of women, lots of non-white people, lots of kids, even people in wheelchairs) selection of weirdoes, geeks, and creative types, coming together because they’re all excited about the stuff they love. If the people-power aspect of Comic-Con were the public face of nerddom all year round, nerddom would be a lot easier to support, and the crasser, more exploitative mass-marketing aspects of the show would be easier to ignore.

* Frank Miller talks Holy Terror in long-war terms I now find as dispiriting as his increasingly untethered cartooning is invigorating.

* Paul Gravett reviews Grant Morrison’s Supergods, with a focus on whether Morrison’s love of the superhero concept has caused him to undervalue the regular humans responsible for it. (Via Tim Hodler.)

* Dan Conner and Omar are joining the cast of Community. My goodness!

* Wow, Colleen Doran’s concept art for a Wonder Woman costume redesign is lovely.

* “Turtle City” is a deeply cool commission by Theo Ellsworth.

* This assembly of 80 different fan covers of “Black Dog” by Led Zeppelin is almost moving in how well it conveys the simultaneous playfulness and brute force of that almighty riff. (Via Whitney Matheson.)

* San Diego news and views continue to filter in…

* I missed this when it went up last week, but the great Tom Spurgeon suggested several potential stories to watch at this year’s Comic-Con just before it opened — I’d have been most interested in items 3, 4, 5, 7, and 8. The analysis is still worth reading, as is today’s follow-up post in which Spurge offers his take on how the con went this year.

* ICv2’s Milton Griepp gave calculating the total size of the digital-comics market the old college try at the ICv2 Conference at SDCC. The numbers he came up with are small, although they are growing rapidly. That stands to reason: Most companies simply don’t have those avenues open for business the way that making more money from them would require. But that’s obviously changing.

* Topless Robot’s Rob Bricken wonders: If a promotional video is screened at Hall H, but no one on the internet can see it, does it make a sound?

* I’m curious about the Jason Aaron/Marc Silvestri Incredible Hulk relaunch. And I’m super-curious about whoever its colorist is. That fire is lovely.

* In other news…

* Jesse Moynihan’s Forming Vol. 1 is now available from Nobrow Press. It looks gorgeous.

* My Robot 6 colleague Tim O’Shea interviews new B.P.R.D. artist Tyler Crook, who’s got some Guy Davis-sized shoes to fill with his first published professional comics gig.

* Tom Brevoort on what fans are entitled to:

Writers are writers because they know how to do what audiences don’t know how to do–tell stories that affect you and move you. It’s way tougher than it looks. Storytelling isn’t a democracy, you don’t get a decision in how the stories go. All you get is your one vote, with your dollars or your feet.

* Rest in peace, WRXP 101.9FM New York.

* News of note from Saturday and Sunday at the San Diego Comic-Con:

* Fantagraphics is publishing the EC Comics Library, in a series of black-and-white volumes centered on individual creators rather than the famous EC titles. So instead of a big horror book with a bunch of dudes’ stuff from Tales from the Crypt or whatever, you’ll get a collection of Harvey Kurtzman’s war stories, Wally Wood’s suspense stories, Al Williamson’s science fiction stories, or Jack Davis and Al Feldstein’s horror stories. (That’s actually the initial line-up.) I’m excited about this project, not just because with Peanuts and Mickey Mouse and the Disney Ducks and Popeye and Krazy Kat and so on Fantagraphics has established itself as the best publisher of archival material, but because their approach here sounds like it’ll be more along the lines of what they’ve done for Jacques Tardi recently, or even the Gilbert and Jaime Hernandez Love and Rockets digests. They’re very good at that sort of thing, too. Anyway, Tom Spurgeon broke the news and interviewed Gary Groth about it.

* But wait, there’s more: Fantagraphics is publishing The Complete Zap Comix, collecting every issue of the seminal (and still ongoing!) underground comix anthology series in one giant slipcased collection. That link takes you to Robot 6, where my colleague Chris Mautner interviews Gary Groth about the project. Besides comics by R. Crumb, S. Clay Wilson, Spain, Robert Williams, Rick Griffith, Victor Moscoso, Gilbert Shelton et al, the collection will also include an oral history of Zap. Groth pegs the size at about 550 pages, but in the comments, associate publisher Eric Reynolds says it’s actually closer to 800. And there you have it, the “News of the Con” one-two punch.

* Marvel announced some of its post-Fear Itself plans, several of which center on writer Matt Fraction. Fraction is writing a new Defenders series co-starring Iron Fist, a character he helped revive to great effect a few years back. He’s also co-writing a bi-weekly series called The Fearless, which sounds kinda like it has a Brightest Day vibe, with Cullen Bunn and Chris Yost, illustrated by Mark Bagley and Paul Pelletier. And the big Dark Reign/Heroic Age-style umbrella label for the post-Fear Itself world will be Battle Scars. Here’s a pretty thorough panel report on these and other announcements.

* Brian K. Vaughan is returning to comics with a new science-fiction series called Saga, illustrated by Fiona Staples and published by Image.

* Here are your 2011 Eisner Award winners. Congratulations to my colleagues at Comic Book Resources, and to the delightful Jim McCann. It’s also nice to see Jacques Tardi’s It Was the War of the Trenches earn some recognition.

* In other news…

* Clive Barker says Abarat III will be out at the end of September. Looking forward to it.

* The wonderful Norwegian cartoonist Jason tries and fails to come to terms with the horrible mass murder in Norway.

* Here are some highlights from Thursday and early Friday at the San Diego Comic-Con…

* I recommend following Robot 6’s CCI2011 tag for your San Diego news needs. Tom Spurgeon is also keeping a running log of the major comics publishing announcements, with occasional commentary, at his recently revived Comics Reporter site — that’ll be worth checking daily as well.

* Pyongyang/Shenzhen/Burma Chronicles author Guy Delisle’s next travelogue will be Jerusalem: Chronicles from the Holy City, which will take place during the “Operation Cast Lead” Gaza War. That’s something to look forward to, though as I said at Robot 6, it won’t be without controversy. (I’ve already gotten one condemnatory Google Alert hit for that post.)

* Marvel will be releasing day-and-date digital versions of its major Spider-Man and X-Men comics. If you go in for the Marvel Movie Conspiracy Theory, you’ll note that these are the two major franchises that Marvel Studios doesn’t own the rights to, rather than the Avengers and their associated characters. Marvel says they’ll start rolling out same-day digital copies of their other titles at logical jumping-on points, like first issues or the start of major new storylines.

* Sticking with the digital beat, Top Shelf is releasing digital versions of over 70 of its graphic novels.

* Frank Miller’s Holy Terror looks quite entertaining. I hadn’t realized it was in black and white, although I guess with Lynn Varley out of the picture it stands to reason.

* Chris Mautner interviews Brian Ralph about his first-person zombie survival story Daybreak. Fun fact: I have a short piece on this book in the August issue of Maxim!

* In the Friday iteration of DC’s daily panel on its “New 52” linewide relaunch, DC Co-Publisher Dan DiDio said planning for the relaunch began in October 2010, when 23 writers met to talk about the line’s direction. That’s the first firm date I’ve heard — it’s months before most of the speculation I’ve seen has pegged the initiation of the project — and the first time I’ve heard that that many writers were involved.

* In other news…

* I took a quick look at Grant Morrison’s recent comments on Siegel & Shuster’s claim to Superman on Robot 6.

* Scott Pilgrim creator Bryan Lee O’Malley on George R.R. Martin, A Song of Ice and Fire, and nerd culture’s cult of disappointment.

* Speaking of which, Sam Bosma has been doing some extraordinary portraits of ASoIaF characters lately. Spoiler warning: Unless you’ve read the first four books, there are plenty of characters in there you probably haven’t met, so look out.

* Those two links remind me: Things have really been hopping over at my Song of Ice and Fire/Game of Thrones blog All Leather Must Be Boiled since I finished reading A Dance with Dragons. I’ve been posting a lot of commentary and links to interesting art and reviews, and Elio Garcia and Linda Antonsson, the good folks at the big-deal ASoIaF fan site Westeros.org, have been sending a lot of traffic my way, so there’s some good comment-thread action as well. Do check it out if that’s the sort of thing you’re interested in. My review of/braindump on A Dance with Dragons is a good place to start.

* Peter Jackson has released an official composite image of all 13 Dwarves from The Hobbit. Pretty, pretty good.

* Jason Adams runs down the major horror movies slated for release during the back half of 2011, none of which I will get to see, sob sob sob.

* In defense of chillwave, by Nitsuh Abebe.

* The 2011 edition of San Diego’s Comic-Con International began last night with its traditional Wednesday Preview Night. Actually, it seemed to being on Monday, as publishers began rolling out their SDCC announcements early. Here are a few of the neater ones thus far.

* Bryan Lee O’Malley’s next project, Seconds, will be released by Villard in 2013. That’s all I got. That’s all anyone’s got about it, at the moment.

* After literally years of saying that publishing original graphic novels without serializing the content first doesn’t make financial sense for them, Marvel is doing exactly that with their new Season One line of standalone graphic novels retelling the origins of some of their major characters. I think there’s two interesting things to be said here. The first is that while Marvel’s no doubt going to get a lot of grief for “ripping off” DC’s similarly named Earth One line (or “line” — we’ve seen neither hide nor hair of Geoff Johns and Gary Frank’s Batman book since it was first announced), Earth One is actually more similar in terms of content to Marvel’s existing Ultimate line, in that it’s taking the characters and basic concepts and restarting them from scratch with all-new continuity. Season One, by contrast, is just an origin retelling of the sort Marvel’s done many times in floppy funnybook form. The second thing is that the talent involved isn’t superstars, but people who seem to me to be roughly on the level that the folks who launched the Ultimate line back in the day were at. That’s undoubtedly a cost-saving measure, but maybe, as with the Ultimate line, it’ll provide a chance to establish some new voices on a project tangential to the success of the mainstream Marvel Universe.

* Drawn & Quarterly is debuting their very nice-looking collection of Kate Beaton’s Hark, a Vagrant! at the show.

* In other news…

* Hooray, Tom Spurgeon is back at The Comics Reporter! Man, did I miss him. He starts things off with a bang, too: A lovely essay on Jaime Hernandez’s lovely “The Death of Speedy Ortiz.” I like his point about how young people can incorporate tragedy into their self-mythologies in a way that’s both helpful and deceitful; I certainly did.

* Spurge also offers a provocative essay arguing that yes indeed, it’s time for the Xeric Grants to go. I don’t think I agree with his analysis at all. I think breakout success in the webcomics field of the sort Tom says is now possible in a fashion akin to what the Xeric does for its winners is, for the most part, only possible within a relatively narrow range of artistic expression. (I also think Kickstarter success is only possible within a relatively narrow range of audience appeal, but Kickstarter’s not really something Tom’s talking about.). I think that if arthouse publishers like Koyama, PictureBox, Secret Acres, AdHouse, Pigeon Press et al were really sufficient to cover worthwhile young/new cartoonists, then someone ought to have told recent winners like Blaise Larmee, Lane Milburn, and Dave Kiersh (Dave Kiersh!), who all seem to me to be eminently publishable by such outfits but who turned to the Xeric anyway. And I don’t really see a problem with the Xeric moving away from its old-school conception of self-publishing as an end in itself; none of the aspects of the new-model Xeric — an honorific people take seriously in a world where Brad Meltzer’s Justice League wins Eisners, a chance for cartoonists to be handed some money and some printed comics, a foot in the door with small-press publishers — seem any less noble or delightful to me.

* By contrast, Geoff Grogan pens the most eloquent eulogy for the Xeric grant I’ve yet read, tackling not just the “what this person, place, or thing that doesn’t exist anymore meant to me” business that’s as far as most of us comics people ever go in these things, but arguing persuasively that the loss of the Xeric is the loss of an opportunity for cartoonists (or comics-makers, as Geoff might prefer) to experiment, in print. Both these elements are key. He also notes that the Xeric Foundation provided him with legal help when his excellent book Look Out!! Monsters ran into some trouble, which a ComicPress site and Kickstarter page are never going to provide anyone. Read it.

* Grant Morrison takes nerd culture to the woodshed. If you’ve ever wondered why a forward-thinking guy like Morrison has never managed to maintain a web presence, I think you now have your answer.

* Good riddance to the Ron Howard Dark Tower adaptation project, for now at least. Those books stink.

* Fuckin’ Adams.

* The cartoonist Jason reviews John Carpenter’s The Thing. Ain’t the internet grand? My favorite thing about this is how he points out that as a Norwegian, he can understand every word the crazy Norwegian is shouting before the Americans kill him, making the whole movie that much more fatalistic.

* Curt Purcell didn’t care for Death Note overall, having realized that by the end he was reading more out of the residual goodwill engendered by the concept and the first few volumes than for interest in the increasingly byzantine doings of the killers, detectives, notebooks, and shinigami involved. That’s a fair read, although I recall enjoying myself right through the end.

* Matt Zoller Seitz and his ninth-grader daughter talk Harry Potter, the books and the movies, at length. I guess now’s the part where I say that the books convey the helplessness of children at the hands of adults really really well but are otherwise kind of a mess, the ending’s a convoluted punch-pulling trainwreck that gives way to a mawkishly sentimental and unimaginative epilogue, and I’ve had zero interest in seeing any of the movies since the first one. Every Potter needs a pooper!

* Man, Duel was a good movie. I probably haven’t seen it in a dozen years.

* Michael DeForge’s “College Girl by Night,” his contribution to the second volume of the alt-smut anthology Thickness, looks like potentially pretty hot stuff.

* Cool, creepy art from Jonny Negron.

* Cool, creepy art from Renee French.