Stage | Dancer Daniel Curry, who was seriously injured during an Aug. 15 performance of the Broadway musical Spider-Man: Turn Off the Dark, made his first appearance since the accident at a benefit concert held Monday that raised $10,000 for his medical bills. Curry was injured when his leg was pinned by an automated trap door — he blames malfunctioning equipment, producers say it was human error — resulting in fractured legs and a fractured foot; he has undergone surgeries and unspecified amputations. The Occupational Safety and Health Administration and Actors’ Equity have launched investigations into the accident, and Curry’s lawyers are exploring a possible lawsuit against the $75 million show and the equipment suppliers.
During previews of Spider-Man: Turn Off the Dark — before the March 2011 firing of director Julie Taymor and the sweeping overhaul that followed — no fewer than five performers were injured, the most serious previously being aerialist Christopher Tierney, who fell about 30 feet in December 2010, breaking four ribs and fracturing three vertebrae. He returned to rehearsals four months later. There have been no major accidents since the show opened in June 2011. [The New York Times]
“If you’re an aggressive individual and you want to make this your field — and there is no school. You make your own school. You make your school. I say that you borrow arms and legs and heads and necks and posteriors from anybody you can. In comics, which is a peculiar field, every man — every artist — is the other artist’s teacher. There’s absolutely no school for it. People can teach you the mechanics of it, which is good. I can see a good reason for that. But drawing a good figure does not make you a good artist. I can name you 10 men, right off the bat, who draw better than I do. But I don’t think their work gets as much response as mine. I can’t think of a better man to draw Dick Tracy than Chester Gould, who certainly is no match for Leonardo Da Vinci. But Chester Gould told the story of Dick Tracy. He told the story of Dick Tracy the way it should have been told. No other guy could have done it. It’s not in the draftsmanship, it’s in the man.
Like I say, a tool is dead. A brush is a dead object. It’s in the man. If you want to do, you do it. If you think a man draws the type of hands that you want to draw, steal ‘em. Take those hands.
Graphic novels | Dubbing this “the age of the graphic novel,” Glasgow, Scotland’s Sunday Herald asked an unnamed and unnumbered group of cartoonists, novelists, critics, comics historians and the like for a list of titles that should be in everyone’s library. The result is a pretty impressive, and varied, rundown — “the 50 greatest graphic novels of all time” — that ranges from Paul Pope’s Heavy Liquid and Lili Carre’s The Lagoon to Katshuiro Otomo’s Akira and Frank Miller’s Batman: The Dark Knight Returns. [Sunday Herald]
Creators | Rebecca Gross interviews Daniel Clowes about the development of his work, doing comics at a time when comics weren’t considered an art form, and the current exhibit of his work at Chicago’s Museum of Contemporary Art, “Modern Cartoonist: The Art of Daniel Clowes.” [NEA Arts]
there are millions of people in the world who are experts, certified PhD level experts, at setting themselves up to fail. if that’s who you want to be, that is absolutely fine. but you have to stop talking about it and be who you are.
but if you’re telling me that you have a voice, there is no one in the world other than you who is going to be able to make that voice heard. no one’s going to come over your house and sprinkle magic dust on you to make you the writer you want to be. you have to sit down and start writing.
stop excusing yourself from living the life you want to live.”
Comics | The editor-in-chief of the Boston Phoenix denies accusations that the alternative weekly canceled Karl Stevens‘ satirical comic Failure because advertiser Anheuser-Busch was offended by last week’s strip, which referred to Bud Light as “diluted horse piss.” Stevens, whose comic has appeared on ThePhoenix.com since 2009, claims he was told by the art director that Failure was being canceled specifically because of the Bud Light jab. “Apparently I offended Bud Light, and cannot be trusted,” Steven told Publishers Weekly. However, Editor-in-Chief Carly Carioli called the accusation “categorically false,” insisting Failure was canceled because it no longer fit The Phoenix, which has changed from a weekly newspaper to a weekly magazine. “It is categorically false that Karl’s strip was discontinued due to any outside objections. As the Phoenix’s editor in chief, it was my sole decision to discontinue Failure,” Carioli told The Boston Globe. “There were no sponsor objections — zero — to this strip or any other that I’m aware of.” [Publishers Weekly, The Boston Globe]
Legal | Marvel has sued a Jerusalem retailer for $25,000, claiming the well-known Kippa Man store is infringing on its trademarks by selling unlicensed yarmulkes bearing Spider-Man’s likeness. “A reasonable consumer could be fooled into thinking that the infringing product is manufactured and/or sold by the plaintiff with the knowledge and/or approval of the defendant,” Marvel said in its complaint. Kippa Man owner Avi Binyamin notes the yarmulkes are manufactured in China, and that he only sells them. “There are 20 stores on this street, they all sell the same thing,” he told The Jerusalem Post, theorizing that he’s being targeted because his store is well known. The Times of Israel characterized the lawsuit as “the first move by Marvel against what it perceives as widespread copyright infringement in Israel, where products featuring its copyrighted superheros are commonly sold.” [The Jerusalem Post, The Times of Israel]
This is actually an answer I like to give to writers when they ask me the question of how they can attract an artist, “Have you considered drawing your comic yourself?” I get that not everyone draws, or has the capacity and patience (and time and momentum) to learn drawing, but take it from me, drawing is a skill, and it is something many people can learn. So why not give it a try?
Most comic artists are familiar with Wally Wood’s famous 22 Panels That Always Work. It’s a one-page manual explaining how to spice up panels in which people are talking or otherwise doing visually uninteresting things. That, of course, also makes it required learning for comic book writers who need to realize how hard artists have to work to make this stuff readable in a visual medium.
Not confident that writers learned the appropriate lessons from Wood’s advice, Mark Waid has partnered with Jeremy Rock to speak directly to members of his profession. Gutters has the entire lesson.