Robot 6

Comics A.M. | New lead in Michael George case; SLG’s digital priority

Legal

Legal | Authorities in Clinton Township, Michigan, tracked down two men mentioned in police reports by comics retailer Michael George after his wife’s 1990 murder who were never questioned. The judge gave police 48 hours to locate and question them. One of the men passed away, while the other, John Fox, will be questioned Friday about a family car that is similar to one seen near the comic book store where Barbara George was killed. [Detroit Free Press]

Digital comics | Heidi MacDonald talks to SLG Publisher Dan Vado about plans to release the company’s serialized comics digitally rather than in print. Vado reveals SLG’s popular Johnny the Homicidal Maniac by Jhonen Vasquez will be released in digital format. [The Beat]

Comics | Lisa Fortuner notes that this week’s Green Lantern Corps #1 story shares a title with a Nazi propaganda film: “That’s a beheading, followed by cutting a woman in half, followed by the loss of a finger, followed by a reference to an infamous Leni Riefenstahl film. For those of you who are new to the Internet and it’s population of history snobs, Leni Riefenstahl was an early 20th Century pioneer who made inroads for women in the field of Evil. She did a Nazi propaganda film called ‘Triumph of the Will’ which to this day is still inspiring horror of authoritarian power in film classes and museums. It is probably not the best choice of titles for a book where the main heroes are fueled by willpower.” [Written World]

Green Lantern #1

Comics | David Uzumeri highlights the continuity changes made to DC’s relaunched comics in their second week of release, from the total reboot of Deathstroke to Green Lantern #1: “This is Green Lantern #68,” he writes. [ComicsAlliance]

Publishing | Jim Shooter shares the complete contract he received from Marvel circa 2001for a story that was never published. [Jim Shooter]

Digital comics | King City creator Brandon Graham comments on comics piracy and the reaction of creators to it: “It always gets my ire up when I see creators and publishers saying shit like ‘If you’re illegally downloading our comics, you’re stealing from us’ –I don’t think it’s a good idea to try to shame readers into paying for books. Someone yelling at me for being a crook doesn’t make me want to give them money. I feel like part of this job is to get people excited about what you’re putting out and making something for them to read that’s worth being excited about. Granted I do think that ideally the people putting the stuff out should have a say in how it’s presented but The harsh cold reality is that downloading comics is free, easy and without consequences. I feel like the trick is to make a book that is something worth owning in print. I think about Head shops carrying underground comix next to weed pipes or EC comics being accused of corrupting the youth or Mad magazine or Heavy metal full of nudity from the future. Selling cool to the kids– don’t let your mom see these comics! I have faith in my own work,and the comics that I’m excited about I feel like if enough people saw them they would want to own them on paper. When I find some amazing comic online one of my first reactions is always –Where can I find a copy of this.? for me I can only understand how comics sell by thinking about what I would buy. I think one of the strengths of comics on this internet is that we can show comics to such a huge audience outside of just who goes into comic shops. You can be their dealer instead of some scolding school principal.” [Royal Boiler (NSFW)]

Daredevil #1

Creators | Mark Waid is interviewed for the blog of Gallivan, White & Boyd, P.A., “one of the Southeast’s leading litigation and business law firms,” about his work on Daredevil, Matt Murdock’s law career and the problems he’s facing now that folks know he’s a masked vigilante: “The real problem for Matt gets back to the idea that a good attorney needs to be fairly invisible when it comes to the facts of the case. The moment the attorney becomes more of the focus of the trials and the evidence or the clients, you’ve got a problem. So then, it’s all about personality, and as we saw in issue one, it doesn’t always do the client any favors. So Matt’s now in a position where he loves trial law. It’s the thing he’s best at. He’s really good at it – [but] what can he do to use that knowledge to help others?” [Abnormal Use]

Creators | Allan Heinberg discusses Marvel’s Avengers: The Children’s Crusade, and the family dramas at the core of The Avengers and the X-Men: “”The emotional appeal of these teams for me has always been that they’re essentially large, dysfunctional families of outsiders who are desperately trying to find a place where they belong in a violent and terrifying world.” [USA Today]

Creators | Tom Batiuk talks about his work on Funky Winkerbean and Crankshaft, and whether he’d ever consider doing a graphic novel: “Yeah, I think about that. It’s just that the time constraints are just too much to deal with. Between doing the two strips, and then this year I also was working on a big book collection — and between trying to juggle all those projects, there’s really no time to get involved with something like that. I think it’s an intriguing idea, and it would certainly allow you to just finally make that last break and go totally cinematic with it. I liken it to… I started out doing stand-up, just telling jokes, and then I evolved to sort of a sitcom where situations would kind of carry the narrative for a while. And now I’m kind of making movies.” [The Trades]

Evelyn Evelyn

Creators | Singer-songwriter Amanda Palmer chats about her comic debut with Evelyn Evelyn, a new Dark Horse graphic novel about conjoined twin sisters Eva and Lynn Neville. [USA Today]

Creators | Gene Luen Yang talks about his work on the new Avatar: The Last Airbender graphic novel and working in a collaborative situation for the first time: “A comic can express a single, unified vision a lot better than any other visual storytelling medium. When you’re working on a franchise, however, things just aren’t like that. You don’t have nearly as much control. But the flip side is that you get to mix your ideas with other people’s. You get to an up-close look at other people’s creative processes. And often, the results are bigger, and better, than what you could’ve pulled off on your own.” [Racebending.com]

Creators | Angelica Brenner is conducting a survey “for women who create, publish, sell, report on, or otherwise produce and promote comics.” [Hey, Women! Comics!]

Conventions | This weekend’s Detroit Fanfare, “the first comic book convention to be held in Detroit proper since 1975,” is profiled. [Press & Guide]

Comics | Ben Morse looks at several Hulk stories set in space. [Cool Kids Table]

Creativity | Sam Carbaugh sits in on a class by Rhymes With Orange cartoonist Hilary Price, who shares her secrets for coming up with ideas and making sure they are funny. [CCS Visiting Artist Blog]

Craft | Cartoonist Tom Pappalardo complains that Steve Jobs has made his job a lot harder by transforming all of technology into sleek rectangles—and robbing telephones, televisions, even newspapers. of their visual signatures. [tompappalardo.com]

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Comments

3 Comments

George Bush (not that one)

September 21, 2011 at 8:09 am

OMG Hitler was bad!

I have a suspicion that, based on the solicitations for GLC, the title is meant to be ironic, and that the bad guys in the first arc are going to be very willful indeed.

“She did a Nazi propaganda film called ‘Triumph of the Will’ which to this day is still inspiring horror of authoritarian power in film classes and museums.”

She also inspired the fascist undertones of “Star Wars: A New Hope”. (The last scene, where the awards are being given. Pure Reifenstahl, although the set design probably was inspired by Albert Speer.)

Much like “Birth of a Nation”, it remains both vilified and praised for its cinematic mastery. Like many prominent individuals of Nazi Germany, she was a pioneer in her field.

Superhero comics are littered with individuals who fate pushed one way or the other. Superboy and Superboy Prime being one example. Some villains find redemption. Same with people.

Just like the current Doonesbury Palin controversy, you can argue that documentaries, like satire, have a specific point of view. When they become too specific, they become propaganda, but Hollywood is a master of that. (How many cried during E.T.?)

As for the title… they didn’t use the German title. It is also possible that the title refers to the villain, who might be as evil as Adolph Hitler, and thus used for connotation. It’s been used before in comics:
Captain America #447 (volume 1)
Captain America #19 (volume 3)
Green Lantern Corps Quarterly #7
New Guardians #10 (Nazi reference on cover)
Warrior Nun Areala: Rituals #3

(Hmmm… no one has used “My Struggle” ooops… Master Comics #68 used “Mein Kampf” in a story in 1946. As did OMAC #3, but that was a Hitler story.)

I’m interested in how the Germans will translate this… They censor (legally: Strafgesetzbuch section 86a) most Nazi references.

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