"U.S.Avengers": A Guide to Marvel's New Patriotic Superhero Team
Awards | Riad Sattouf’s graphic memoir Arab of the Future has won this year’s Los Angeles Times Book Prize in the graphic novel category. The first volume of a planned trilogy, Arab of the Future also won top honors at the Angouleme International Comics Festival two years ago. [Los Angeles Times]
Superheroes | Dave Itzkoff looks at the growing interest in female superheroes in comics as well as in TV and movies. The article includes interviews with writers Gail Simone and G. Willow Wilson, and Wilson speaks poignantly about Ms. Marvel: “If you wanted to work in the business, you kept your head down – you did not want to be seen as having an agenda. I would never have pitched that, because I frankly would have worried that it would have prevented me from getting other work.” [The New York Times]
Creators | The Royal Zoological Society of Scotland has named its first Cartoonist in Residence: Cameron McPhail, who left his job in 2002 as chief executive of wealth management at the Royal Bank of Scotland to become a full-time cartoonist. He and his colleagues in the Kartoon Faktory collective will produce books about the animals in the zoo and possibly a comic strip as well. [Edinburgh News]
Passings | Brian Jacoby, owner of the Tallahassee, Florida, comic shop Secret Headquarters and a well-known presence on Twitter and comics discussion boards, died suddenly on Thanksgiving. The news was first released in a tweet from the store. His memorial service will be held Tuesday. [ICv2]
Editorial cartoons | Bob Staake’s New Yorker cover showing a broken Gateway Arch in St. Louis, a commentary on the events in nearby Ferguson, Missouri, received a lot of attention just before Thanksgiving — and even more when it got around that syndicated cartoonist R.J. Matson had drawn a similar cartoon in August. Matson brushes that aside, however, pointing out that editorial cartoonists often come up with similar visuals: “Finding a good joke is like solving a puzzle and very often there is one very best solution to the puzzle. Any cartoonist worth his salt would kick himself or herself for not finding that solution.” And when five cartoonists do it on the same day, he said, “we call it a Yahtzee.” [The Washington Post]
Conventions | The San Diego Tourism Authority is asking hotels in the Comic-Con International room block to freeze their rates at the 2016 level for the following two years, as part of its bid to keep the convention in the city. Already, 30 of the 50 participating hotels have agreed to do so. Meanwhile, Mayor Kevin Faulconer will attend the next Comic-Con board meeting to make an appeal to organizers to remain in the city; Tourism Authority CEO Joe Terzi said Anaheim has made a bid for Comic-Con, but the city’s convention bureau wouldn’t comment.
A plan to expand the San Diego Convention Center collapsed after the hotel-tax funding scheme was ruled unconstitutional, but Anaheim is preparing to break ground on its own 200,000-square-foot expansion. However, Comic-Con spokesman David Glanzer said, “Some people had mistakenly implied that an expanded convention center would be the thing that solidified our decision to stay or go, but there are a number of factors to be addressed: hotel room rates, available space within hotels and outside the center, things that could mitigate the issue of having outgrown the convention center. An expansion would be great for the city and us, but if it doesn’t happen we’ve been able to make do without it, and if we can mitigate the concerns we do have we’ll be able to stay here.” [U-T San Diego]
Creators | A U.K. researcher argues that Marie Duval was the real creative force behind the wildly popular 19th-century British comic Ally Sloper, which is largely credited to her husband Charles Ross. Duval, the pen name of French cartoonist Emilie de Tessier, drew the character at the height of his popularity in the 1860s and ’70s, but historian David Kunzle now questions what role Ross actually played in his creation. [The Guardian]
Commentary | Chase Magnett pushes back on Chris Suellentrop’s statement, made in a column about GamerGate, that comics are “a medium that has never outgrown its reputation for power fantasies and is only very occasionally marked by transcendent work (Maus, or the books of Chris Ware) that demands that the rest of the culture pay attention to it.” [Comicbook.com]
Conventions | An advocate for the homeless claims San Diego police are harassing homeless people to keep them away from downtown during Comic-Con International. The mayor and police chief deny the accusation and say officers are simply doing outreach, but at least one homeless man has been given a “stay away” order. Comic-Con begins Wednesday with Preview Night. [ABC 10 News]
Digital comics | Following the news that the comics market was estimated at $850 million in 2013, of which $90 million was digital, George Gene Gustines looks at a couple of different digital models, including Thrillbent’s new subscription service and Panel Syndicate, Brian K. Vaughan and Marcos Martin’s name-your-own-price approach. [The New York Times]
Digital comics | In today’s Amazon-acquires-comiXology article, Rachel Edidin deflates much of the hype, and the panic, surrounding the deal, pointing out that comics distribution is already a monopoly, large corporations already run the comics market, and comics have been available on Kindle all along: “Is the concern […] a distribution monopoly? If so, the direct market is in no position to criticize: over the last 15 years, Diamond Comics Distributors has consumed almost all independent print distribution in comics, and dictates practices and policy to retailers and publishers alike. The idea that print comics are somehow more independent than their digital cousins — or a scrappy underdog fighting the good fight against evil corporate profiteers — is frankly ridiculous.” [Wired]
Awards | Michael Cavna talks with Kevin Siers of the Charlotte Observer about winning the Pulitzer Prize in cartooning. [Comic Riffs]
British publisher SelfMadeHero earlier today announced its publishing plans for the first few months of 2014. They include a biography of painter Vincent van Gogh by Dutch artist Barbara Stok, a political satire set during the Iraq War by Abel Lanzac and Christophe Blain (!), the true story of boxer Hertzko Haft, who survived Auschwitz to become a heavyweight prize-fighter, and a collaboration between David Camus and Nick Abadzis (Laika, Hugo Tate) that involves Orson Welles and a Cuban cigar-roller.
You can find the full descriptions below.
Crime | Federal prosecutors are seeking a lengthy prison term for Colleen LaRose, who was convicted, along with two other people, in a foiled 2009 plot to kill Lars Vilks, a Swedish cartoonist who drew a caricature of the Prophet Mohammed. LaRose, who goes by the online name “Jihad Jane,” could face a life sentence, but as she assisted U.S. authorities with several terrorism investigations, they are merely asking that she spend “decades” behind bars. LaRose’s sentencing hearing is scheduled for Monday; her co-conspirator, Mohammad Hasan Khalid, will be sentenced on Tuesday. [The Guardian]
Creators | Neil Gaiman, who maintains a highly visible presence on Twitter, Facebook and Tumblr — he has 1.8 million followers on Twitter alone — is taking a six-month “sabbatical” from social media to focus on his writing. “I feel that I’m getting too dependent on phones, on Twitter,” said Gaiman, who began blogging in 2001. “It’s a symbiotic relationship. That instant ability to find things out, to share. I want to see what happens when I take some time off.” [The Guardian]
Passings | Chris Bird pens an obituary for Leon Kuhn, a British cartoonist who was active in socialist and progressive causes and whose work appeared regularly in the Morning Star as well as in The Big Book of Bureaucrats. He often marched in demonstrations carrying placards of his cartoons. Kuhn died last week at age 59; the sole news article about his death simply says he “died under a train” at a London subway station and that the death is not being treated as suspicious. [Counterfire]
Manga | ICV2 rounds up Viz Media’s announcements for the beginning of 2014, including three new series. [ICv2]
Creators | Jonathan Hickman and Tom Brevoort talk about Avengers #24.NOW, which kicks off the All-New Marvel NOW initiative. [USA Today]
Webcomics | Shaenon Garrity looks at the problem of webcomics going viral without any attribution to the artist or link back to the original site, often because that attribution has been stripped from the image itself. She cites the case of Rachel Dukes, whose “Life With/Out a Cat” comic racked up half a million views for the uncredited version, while the one with her signature received just 81,000. [The Comics Journal]
Retailing | Brian Hibbs, owner of Comix Experience in San Francisco, has announced he’ll assumed ownership of Comic Outpost from Gary Buechler as of Monday. “It only took me 24 years to do it, but finally Comix Experience will have a second store!” Hibbs writes on Savage Critic. He goes into more detail on the Comic Outpost website, telling customer, “Comix Experience runs pretty differently from Comic Outpost, but I want to assure you that we have no intention of changing the essential nature of the Outpost. Customers dictate the kind of store that exists, and we’ll be dedicated to bringing you the same passionate and engaged love-of-comics service you’ve received from Gary over the years!” [Savage Critic]
Publishing | Israeli creators Rutu Modan (The Property) and Yirmi Pinkus have launched a new publishing house, Noah’s Library, to produce graphic novels for children. Modan, who wrote and illustrated Maya Makes a Mess for Toon Books, is creating new illustrations for the 1930s Israeli comics character Uri Kaduri, while Pinkus is illustrating stories about Mr. Gazma’i Habeda’i, another vintage character. They eventually plan to release the work of other creators as well. [Haaretz]
Cartoons | Francoise Mouly presents an array of cartoons by Ad Reinhardt, who eventually made his name as a fine artist with black-on-black paintings that he described as “the last paintings that anyone can make.” (For good measure, Mouly throws in a slide show of New Yorker cartoons about those paintings.) Before he reached that artistic pinnacle, Reinhardt drew cartoons for a number of different publications, including the leftist newspaper PM, where his fellow artists included Theodor Geisel (Dr. Seuss) and Crockett Johnson, and the trade magazine Ice Cream World, where he was the art director. [The New Yorker]
Publishing| Marvel Editor-in-Chief Axel Alonso talks about bringing more Latino characters — and more diversity in general — to the Marvel lineup: “People out there reading our comic books are of all sizes, creeds and colors and it’s our responsibility to make them feel included. This isn’t some PC initiative, this is capitalism. This is about supply and demand.” [Fox News Latino]
Creators | Grant Morrison discusses winding up his run on Action Comics: “Symbolically I’m not a big fan of dealing with politics in superhero comics because I think it diminishes both sides of the argument, but I do have my own take on things. I’ve got my own politics and so they do tend to find their way in. And really for me, its more symbolic, the way story winds up to tackle all those issues and looks at them through the perspective of Superman and Red Kryptonite and weirdness. So it’s gone underground. I think the early Superman was very much more aligned with the anti-establishment, anti-authoritarian current, because I think when Superman started out that he was what entered into.” [Comics Alliance]
Retronaut has posted some scans from “The Fantastic Adventures of Adam Ant,” a short-lived feature in Britain’s TV Tops comic during the early ’80s. Not all of the text is legible, but according to Comic Vine, the series was about Ant being transported away from a concert to an alternate dimension where he learns he’s the reincarnation of an immortal hero.
I know I’m old, but I’d love to see someone revive this. Adam Ant and Puss ‘n Boots could team up with Picasso to visita el Planeta de los Simios. Stripping and subtle innuendos follow.