Rich Johnson.

The Hachette Book Group and its Little, Brown Books for Young Readers imprint is the latest New York trade book publisher looking to jump into the comics and graphic novel market after hiring Rich Johnson, former D.C. Comics v-p of trade book sales,last week. Megan Tingley, v-p and publisher of Little, Brown Books for Young Readers, says the publisher has hired Johnson "to explore the possibility of launching a graphic novel imprint." Contacted by PWCW, both Tingley and Johnson expressed excitement and enthusiasm about the prospect of a comics imprint at Little, Brown, although both declined to provide more details at this time.

Johnson's hiring ended speculation in the comics community over his plans since leaving DC Comics in June after nearly 10 years. Johnson is credited with being instrumental in establishing DC Comics' presence in the book market. Tingley says that Johnson has been hired to "consider" an imprint at Little, Brown, that would publish "across the wide spectrum of the graphic novel market,... licensed manga, [but also] original manga publications, original American comics and graphic novels, Web comics, licensed adaptations and children's graphic novels." Johnson has been hired as "a consultant" and will attend the Frankfurt Book Fair, said Tingley, "to make contacts and gather information for this potential new venture."

In the midst of all the critical politeness around the current Masters of American Comics exhibition, two new retrospectives of underground titans S. Clay Wilson and Greg Irons are rather rude (but very welcome) reminders of the primal urgency of the 1960s and ’70s underground. The booze, cigarettes and flop sweats practically waft off these pages—it’s powerful, pungent stuff.

Set during a devastating Martian invasion, this offbeat graphic novel presents a community that acknowledges the alien holocaust yet continues its cycle of rural stagnation unabated. Evoking a desolate Mayberry gone to seed, the grim inhabitants lead an emotionally void existence as the local teenagers descend into a nihilistic routine of drunken delinquency and thrill seeking amid a backdrop that fairly screams "no future." Young Milton cuts firewood to support himself after his parents die when their house collapses, but his strange, loner nature makes him a target for abuse from Russell, a malicious slacker who brutally objects to his own sister’s innocent friendship with the woodcutter. Just as the narrative seems to have forgotten the Martian assault, the invaders arrive, transforming all who get in their way into robotic flesh-eating zombies, and the story morphs into George Romero meets The Last Picture Show, complete with gory, cannibalistic violence and gunplay. Callahan (Strange Detective Tales) provides an incredibly bleak scenario, bolstered by crisp and quirky illustrations, resulting in a zombie tale with more than just gore. (Sept.)

Looking over the course of Brian Wood's career so far, one word springs to mind: focused. The 34-year-old New Yorker came into comics from a career in graphic design and has become one of comics' preeminent figures. Known as a triple threat for his writing, illustrating and graphic design abilities, Wood has risen through the ranks while concentrating on his creator-owned work. And it's paid off.

• Bardin The Superrealist (Fantagraphics)
• Cancer Vixen: A True Story (Random House)
• Emma Vol. 1 (DC/CMX)
• Infinite Crisis (DC)
• Junjo Romantica Vol. 1 (Blu Manga)
• La Corda d'Oro Vol. 1 (VIZ)
• Last Planet Standing (Marvel)
• The Mother's Mouth (Alternative Comics)
• Wally's World (Vanguard Productions)
• Witchery (Random House)

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