In Slott's "Amazing Spider-Man," With Great Wealth Comes Global Responsibility
Editorial cartoons | The public-relations consultant hired by the city of Murrieta, California, after residents protested the arrival of refugee children to be processed there, told cartoonist Lalo Alcaraz that referring to Murietta as “Hate City USA” was “actionable.” “There IS a fine line between your constitutional right to draw cartoons and expressed (sic) your opinions,” Hermosillo wrote in a comment on Alcaraz’s Facebook page, “and falsely, deliberately, and maliciously labeling and attacking an entire community as racist or as ‘Hate City.’ You are working overtime to damage Murrieta and such a false premise is actionable. There’s a fine line between humor and stupidity. You may have crossed that line at your own peril.” Murrieta spokesperson Kim Davidson walked that back, however, saying the city has no plans to sue Alcaraz. [The Press Enterprise]
Publishing | Archie Comics Co-CEO Jon Goldwater responds to Singapore’s ban of the third volume of Life With Archie, which features the wedding of Kevin Keller and Clay Walker: “Riverdale will always be about acceptance, equality and safety. I’m sad readers in Singapore will miss out on the chance to read such a pivotal moment in comics.” [The Hollywood Reporter]
Business | Devin Leonard looks at the possible effects of a Fox/Time-Warner merger on superhero movies; Time-Warner owns DC Entertainment, and Fox has the movie rights to some Marvel characters. The New York Times offers a broader overview. [Business Week]
Recalling reading his sister’s Archie comics as a child, an “upset” David Letterman last night delivered the news of Archie Andrews’ death to his Late Show audience.
“Archie is going to be shot dead,” Letterman said. “I don’t know what to say — the Archie people have grown up now, and as I understand it Archie, defending a friend of his who is gay, takes a bullet for his gay friend and is shot dead. He dies a hero, but he’s dead. […] What do we do? What’s next, Dagwood Bumstead chokes to death on one of those sandwiches?”
Publishing | John Jackson Miller mines the circulation statements provided once a year to put together a 54-year sales history of Archie Comics’ flagship title Archie (the publisher is one of the few that still prints annual statements of ownership, allowing the numbers to be traced back, unbroken, to 1960). As he points out, Archie was a big newsstand title, selling almost 600,000 copies in the late 1960s, but it didn’t fare well when comics moved to the direct market — although Archie Comics has done well nonetheless with its digests, which far outsell its single-issue comics. [Comichron]
Publishing | Annie Koyama of Koyama Press talks with Dan Berry about how comics publishing works, and how she got into the field. [Make It Then Tell Everybody]
Legal | At the request of a state-owned distributor, the Russian media watchdog Roskomnadzor is investigating charges that Marvel comics are “propaganda of a cult of violence,” specifically, violence against Russian targets. The agency will review Avengers #1, due out in Russia in August, “regarding the use of Soviet symbols, the presentation of the characters as Russian service personnel, and the incitement of violence and cruelty,” according to the the Russian Legal Information Agency. This seems to be about the Winter Guard and specifically about Vanguard, who wears a hammer-and-sickle logo; the European publisher, Egmont, plans to remove the logo for the Russian release. Roskomnadzor has the option of issuing an official warning; a publisher who gets two of these in a year may have its license revoked. [CNET]
Publishing | Spurred by the GoFundMe campaign launched last week by Dan Vado to get SLG Publishing “back on its feet,” Comic-Con and the Business of Pop Culture author Rob Salkowitz wonders whether a nonprofit model might make sense for some indie/niche publishers: “Contrary to popular perception, however, being a non-profit doesn’t mean you can’t make money. Lots of successful non-profits generate revenues in the millions and pay their staff, executives and contributors salaries comparable with those in the private sector. They can also pay contractors and contributors like performers or creators full market rates. They just don’t pay shareholders, and they plow any excess revenues back into their operations.” [ICv2.com]
Passings | Tom Medley, creator of the comic Stroker McGurk, which ran in Hot Rod magazine for many years, died on March 2 at the age of 93. Medley was a hot-rodder himself, which is how he got his big break: He used to post his cartoons at a local hot-rod builder, and the publisher of Hot Rod, which was just getting off the ground at the time, spotted them and hired Medley as his comics and humor editor. Medley’s son Gary said his father’s humor sometimes foreshadowed reality: “Stroker’s — or Medley’s — inspired genius came up with a host of crazy ideas that appeared impractical at first, but were later adopted by everyday car builders and racers. Multi-engine dragsters, wheelie bars, and drag chutes all sprung from Stroker’s fertile mind before they were embraced in the real world.” [AutoWeek]
Creators | Jeff Smith, who was named last week to the board of the Comic Book Legal Defense Fund, talks briefly about the importance of the organization, and the 2010 challenge to his all-ages graphic novel Bone in a Minnesota school. [Comic Riffs]
Comics | Archie Co-CEO Jon Goldwater, writer Roberto Aguirre-Sacasa and artist Francesco Francavilla have a few things to say about the new zombie series Afterlife With Archie. “We are taking a series of characters known to be lighthearted and young adult-oriented and doing a horror comic with them, so the mood, atmosphere, and setting are very important to make this a believable horror and not a comedy horror,” says Francavilla, who’s also the creator of The Black Beetle. “Fortunately, I am really good at making things dark and ominous.” [The Associated Press]
Archie Comics made its first incursion into the world of fashion earlier this year with a line of Mac cosmetics; now the publisher is moving on to shoes and other accessories.
London designer Charlotte Olympia has announced a new line of shoes and purses featuring vintage Archie comics and characters, including a pair of blue suede peep-toe pumps featuring Betty and Veronica that are priced at a cool $1,095, platform wedges adorned with vintage Archie pages for $1,295, and an Archie clutch purse for $1,595.
According to the Glam blog, Olympia has been an Archie fan since childhood, and the style of the comics in these products reflects the era she grew up in, the 1950s.
“When I was 10 years old, my best friend used to go to America every holiday and bring Archie comics back with her,” she told Women’s Wear Daily. “I still read them today. I especially love Betty and Veronica, they have that retro pin-up look that I adore.”
Legal | Palestinian cartoonist Mohammed Saba’aneh was released from an Israeli prison on Monday, as scheduled. Saba’aneh, who was originally held without charges and eventually sentenced to five months for “contacts with a hostile organization,” drew several cartoons while he was in prison and plans to do a show of his prison drawings, focusing on Palestinian prisoners who, he says, are in prison “just because they are Palestinians.” [PRI’s The World]
Manga | In a major coup for a manga publisher, Digital Manga (which, contrary to its name, also published print manga) announced at Anime Expo that it has signed a deal with Tezuka Productions to publish all of Osamu Tezuka’s works in North America. While the details aren’t entirely clear, it sounds like Digital is working on some new licenses and will have digital rights to books released here in print by other publishers. [Anime News Network]
At Comics Oughta Be Fun, everyone’s favorite, little stuffed blogging bull has declared June to be Bear Attack Month. “Even tho’ they have never gotten their own series,” Bully writes, “bears attacking is one of the most common tropes of comic books both yesterday and today.” That’s why – all month long – he’s featuring comic book scenes of bears attacking everyone from superheroes to Springfield. I’ve included a couple of my favorites below, but there’s lots more (and more to come) at Bully’s site.
Or, “Betty & Veronica & Brandon & Emily.”
Cartoonist Brandon Graham is well known for thinking about the mechanics of comics. Recently, he and fellow cartoonist Emily Carroll went about examining a throw-off five-page Betty & Veronica comic be redoing it in their own styles. The results? Marvelous.
Here’s the first page from each. If you’re enticed, click over to Graham’s blog post containing both full comics as well as the original Betty & Veronica comic they are based on.
Digital comics | Although the Marvel Unlimited and DC Comics apps work very differently, Noel Murray has similar complaints about both: Specific titles are difficult to find, and the damn things keep crashing: “Frankly, while some of the other major comics apps have better search functions — Dark Horse’s, for example — none of the big companies have created the digital comics retailing equivalent of an Amazon or iTunes.” [Hero Complex]
Publishing | Drawn & Quarterly has announced its fall lineup, which includes Peter Bagge’s biography Woman Rebel: The Margaret Sanger Story. [Drawn & Quarterly]
Legal | A federal judge on Friday denied DC Comics’ bid for sanctions against the attorney for the heirs of Superman creators Jerry Siegel and Joe Shuster, finding that Marc Toberoff made “no deliberate attempt to mislead” during the discovery process and, perhaps more importantly, did not interfere with the publisher’s rights to the Man of Steel when he allegedly inserted himself into settlement talks in 2001. [The Hollywood Reporter]
Legal | Stan Lee will be deposed this week by lawyers representing Stan Lee Media in its multi-billion-dollar lawsuit against Disney involving the rights to the characters the legendary writer co-created for Marvel. Stan Lee Media, which no longer has ties to its namesake, claims Disney as infringed on the copyrights Iron Man, the Avengers, X-Men and other heroes since 2009, when it purchased Marvel. The long, tortured dispute dates back to a sequence of events that occurred between August 1998, when Marvel used its bankruptcy proceedings to terminate Lee’s lifetime contract, and November 1998, when Lee entered into a new agreement with the House of Ideas and signed over his likeness, and any claims to the characters. Stan Lee Media has long claimed that on Oct. 15, 1998, Lee transferred to that company the rights to his creations and his likeness. SLM asserts in the latest lawsuit that neither Marvel nor Disney, which bought the comic company in 2009, has ever registered Lee’s November 1998 agreement with the U.S. Copyright Office. [The Hollywood Reporter]
Debuting last fall, The Art of Betty and Veronica was something new for Archie Comics: It was the first time the 74-year-old company had released a deluxe art book under its own imprint, rather than licensing it to other publishers such as IDW or Dark Horse. Compiled by Editor-in-Chief Victor Gorelick and writer and comics historian Craig Yoe, the book takes a decade-by-decade look at the two leading ladies of Riverdale.
Gorelick and Yoe are already at work on their next book, The Art of Archie: The Covers, and they’re taking suggestions from fans on what covers to include. You can go to the Archie forums here if you have a cover to submit—or to look at some of the ones that readers have already uploaded.
I talked to Gorelick and Yoe about their collaboration, Gorelick’s 54 years at Archie Comics, the importance of creators, and the new book.
Robot 6: Victor, how did you start with Archie?
Victor: I came in working in the art department, right out of high school; I went to the School of Art and Design, and one of the production people had graduated from that school the year before and they needed a production assistant in the art department to replace Dexter Taylor — he was going to be drawing Little Archie along with Bob Bolling, so he was going freelance, and they needed someone on staff, so they contacted the school, and they sent up a few people from my cartooning class, including myself, for interviews, and I got the job. And the rest is history.