Robot 6

Comics A.M. | Market shrinks for Australian comic strips

Ginger Meggs

Ginger Meggs

Comics strips | Matt Saracini looks at the impact on Australian cartoonists of a cost-cutting decision by media giant News Corp. Australia to replace individual comics pages in their largest newspapers with one national page. In the process, some more expensive locally produced strips were jettisoned in favor for cheaper syndicated ones from overseas, like Garfield and The Phantom. News Corp. owns more than a hundred daily, weekly, biweekly and triweekly newspapers. [SBS.com]

Creators | Syrian cartoonist Ali Ferzat, now living in Kuwait after troops loyal to Syrian President Bashar al-Assad attacked him and broke both his hands, talks about his decision to portray al-Assad explicitly in his cartoons, rather than sticking to more generic themes like freedom and human rights: “It was a big decision to start to draw Bashar and, yes, I was scared of what might happen, particularly when I was attacked. But I had a responsibility to do what I did. If I am not prepared to take risks I have no right to call myself an artist. If there is no mission or message to my work I might as well be a painter and decorator.” [The Guardian]

Paul Pope

Paul Pope

Creators | Paul Pope was out of the country when his comment that a DC Comics executive told him, “We don’t publish comics for kids. We publish comics for 45-year-olds” went viral, but now that he’s back, he’s clarified the context — although he stands by his original account — and notes he still has a good working relationship with the publisher. [Newsarama]

Jobs | DC Entertainment is seeking a director of interactive marketing, based out of its offices in Burbank, California. [Time Warner]

Creators | Action Comics artist Tyler Kirkham talks about how he got started in comics, working in the Top Cow bullpen, and the creator-owned series he is drawing for Zenescope. [Salt Lake Magazine]

Comics | Jeffrey O. Gustafson looks at a couple of scenes from that classic proto-comic, The Bayeux Tapestry. [The Comic Pusher]

Otakon 2013

Otakon 2013

Conventions | On the occasion of Otakon’s 20th anniversary, Roland Kelts looks at what makes the con — and the fans — so special. [Japanamerica]

Exhibits | Fairfield County, Connecticut, seems to be a hotbed of cartoonists, and right now six of them, including New Yorker cartoonists Joseph Farris and Dana Fradon, are showing their work together at a local cafe. [Danbury News Times]

Review | Sean Rueter liked some aspects of Mike Kingston’s pro-wrestling comic Headlocked but felt the side characters were more interesting than the protagonist. Still, he thinks the Kickstarter-funded comic has potential: “It’s not hard to see Headlocked becoming an engine that could support a number of different storylines and even kinds of stories within the world of pro wrestling, and living up to Kingston’s vision of it as ‘a wrestling cable drama in a comic book.'” [Cageside Seats]

Review | Eddie Campbell reads Ulli Lust’s Today Is the Last Day of the Rest of Your Life. [The Comics Journal]

Organizations | Discount Comic Book Services (DCBS) and Things from Another World (TFAW) have joined the Comic Book Legal Defense Fund (CBLDF) as corporate supporters. [The Comics Reporter]

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Comments

2 Comments

There’s a market for Australian comic strips??!

There’s some good info and great quotes from Paul Pope in that Newsarama interview, despite the fact that it reads like the reporter had an agenda beyond just asking for more context around what he said at Comic-Con. Almost like he had to squeeze the good parts in between answering the same question that Zack hammered him with over and over.

“But nobody actually said that, right?”

“Yes, they did.”

“But will you go on record that they didn’t say that?”

“Yes, they did say that.”

“Moving to my next question, did they really say that? For the love of God, just admit that DC never said that so we can blame this all on the journalists and the internet, and not DC.”

Why didn’t they ask WHO actually said that? Was it a lowly associate editor or someone like Dan Didio? That would be providing actual context beyond the fact that it was an “informal” discussion. No, they wouldn’t publish his Kamandi book, because they weren’t equipped to market it. The same company that can somehow make a movie for adults (Dark Knight Rises) and a TV show for kids (Brave and the Bold) using the same exact character have somehow painted themselves into such a narrow corner with their comics line that they don’t know what to do with a Brian Azzarello/Paul Pope Kamandi comic? Oh well. Their loss, because we still get Battling Boy.

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