The young musician’s violin floated in the water as the mermaid reached down to save him from the shipwreck… Tessa and Jem’s fairytale/Shadowhunters @cassiejp mashup. #shadowhunters #tsc #cassandrajean #jessa Stay tuned for more news about this project!
Hej! Jag har en fråga, jag undrar hur många av Cassandra Clare's böcker har översatts till svenska? Har The Infernal Devices översatts? Och The last hours och The bane chronicles? Tack i förhand! Ps. Älskar er blogg :)
Denna utgåva av boken, collectors edition, där denna scen finns med kan man bara köpa via Barnes and Noble.
Alla utgåvor av böckerna med de nya omslagen kommer att ha kartor med New York (TMI) eller London (TID) och nya förord av Cassandra om varför hon har skrivit serierna bl.a.
Barnes and Noble utgåvorna kommer även att innehålla öppningsscenen från City of Bones från Jace synvinkel och de är alla med hårda omslag, alltså inte pocket.
City of Bones - Collectors Edition kostar just nu $16.24 vilket är ca. 137 SEK och internationell frakt är $13 vilket är ca. 110 SEK om det är någon som är sugen på att köpa den.
The special edition of City of Bones is the only repackage that’s hardcover.
It is only available through Barnes and Noble. Unless people decide to sell it on Ebay, it will never be available anywhere else.
All the repackages have maps of New York (TMI) or London (TID) and forwards by me talking a bit about why I wrote each series. Only the B&N edition is 1) in hardcover 2) a book that contains the opening scene from City of Bones from Jace’s viewpoint.
It’s called “Awake”, from this quote: It was like he was always half-awake where other people were concerned. And then we met you, and he woke up. — Isabelle to Clary, City of Glass
Jace glanced over at Alec and Isabelle. Killing a demon in front of a mundane, unless there was an immediate threat, was something of a no-no. Mundanes weren’t supposed to know about demons. For one of the first times in his life, Jace found himself at a loss. They couldn’t leave the girl with the Eidolon; it would kill her. If they left the Eidolon alone, it would escape, and kill someone else. If they stayed and killed it, they’d be exposed.
“Knock her out,” Alec muttered, under his breath. “Just … whack her on the head with something.”
“Just go,” Jace said to the girl. “Get out of here, if you know what’s good for you.”
But she only planted her feet harder. He could see the look in her eyes, like exclamation points: No! No!
“I’m not going anywhere,” she said. “If I do, you’ll kill him.”
Jace had to admit that was true. “What do you care?” He pointed at the demon with his knife. “That’s not a person, little girl. It may look like a person and talk like a person and bleed like a person. But it’s a monster.”
“Jace!” Isabelle’s eyes flashed. They were depthless, black, angry. Isabelle never got angrier than when Jace risked getting himself in trouble or danger. And he was risking both, now. Breaking the Law — talking about Shadowhunter business with mundanes — and what was worse, he was liking it. Something about this girl, her stormcloud of red hair and her snapping green eyes, made him feel as if his veins were filled with gunpowder and she was a match.
As if, if she touched him, he’d burn up. But then, he loved explosions.
From Russell Gordon, Executive Director of Art, Production, and Design:
The repackaging of Cassandra Clare’s epic Shadowhunter novels has been a rewarding, year-long adventure. Right from the start, when Karen Wojtyla, Justin Chanda, Annie Nybo and I sat down with Cassie to discuss the new direction, I knew it was going to be something truly special. Cassie had a wonderful vision for the new-look: for the characters to be the main focus, to infuse them with a real intensity, and passion, but also keep them a little mysterious. We all wanted to give these new covers as much “heart” as possible. We commissioned the extraordinary Cliff Nielsen (who had worked on the original packaging) as the cover artist. Cliff’s work is not only beautiful in a lyrical way—but it’s edgy and bold and mesmerizing—the perfect match for Cassie’s books. I especially love the details in his work, the way he united a different rune with the featured character on each of the Mortal Instruments covers, and the way the Clockwork Angel is woven into the character on each Infernal Devices cover.
I’ve always thought the best covers were those that will not only draw a new reader in, but also give that reader something else to explore after they’ve finished reading the book; when they go back and pore over all the visual details of the cover they maybe hadn’t understood, or even noticed, before reading the story. There are so many details on every part of the packaging of these books, and I really think it will keep Cassandra Clare’s fans—the new ones and the already-established-ones—engaged long after they’ve closed the books.
From Cliff Neilsen, illustrator:
Creating the cover to a novel is an exciting task. I get to work with really smart people (like Russell Gordon and Karen Wojtyla) that admire beauty and strive for originality. I get a chance to selfishly explore my artistic interests. I get an opportunity to be the first person to investigate and describe visually the world that sprouts from the creative heart of the author.
Cassandra Clare’s stories are special because her heart is special. Her words beautifully interweave the wonder and excitement of youth with myth, cultural history and mysticism. She makes them the popular culture.
So much work went into creating these covers. The process includes combining traditional mixed media painting, digital painting, photography, 3D rendering, found objects, and calligraphy. I’m passionate about these things, but the STORY is the true King. A good illustrator will understand that, above all else. Nevertheless, with this project I found myself asking “What drives the King”? What is the purpose of the story?
Reimagining these covers has been an exercise in trying to capture that emotion through iconography. It has been an attempt to personally connect with these beloved characters and their fictional lives, and share it as a visual parable to the throngs of Cassandra’s fans, past present and future. I hope you experience them with as much wonder and joy as I had creating them.