O Say Can You See: The Greatest Patriotic Super Heroes of All-Time
Editorial cartoons | Ahmad Akkari, one of the leaders of the protests in 2006 against the cartoons of the Prophet Muhammad published by the Danish newspaper Jyllands-Posten, now says he regrets his activities and has even apologized in person to one of the cartoonists, Kurt Westergaard. “I want to be clear today about the trip: It was totally wrong,” Akkari said in an interview with The Associated Press. “At that time, I was so fascinated with this logical force in the Islamic mindset that I could not see the greater picture. I was convinced it was a fight for my faith, Islam.” [The Guardian]
Passings | The body of Ramen Fighter Miki creator Jun Sadogawa (real name Mutsumi Kawato) was discovered early Tuesday hanging from a tree in a park in Ibaraki Prefecture’s Kitasōma District. According to police, evidence at the scene suggested suicide. The 34-year-old manga creator had been serializing Amane Atatameru in Weekly Shonen Champion magazine at the time of his death. [Anime News Network]
Creators | Editorial cartoonist Matt Bors talks about his life in a tough field, comics journalism and people who want him to work for free: “No one would hold a ‘contest’ for chefs to all prepare food and then only offer pay to the ‘winner’ whose meal they like best … If you want to draw your friend’s wedding invitation for free, I say go for it. If someone is making money from your work, they can afford to pay you.” [Truthout]
Creators | Brian K. Vaughan is crowned “king of the creator-owned comics” by Alex Hern, who acknowledges that may be an “artificially constrained” compliment before laying out the writer’s claim to the title. [New Statesman]
Gravitas Ventures has acquired the North America distribution rights to Dear Mr. Watterson, the Kickstarter-funded documentary that explores the influence of cartoonist Bill Watterson and his beloved comic strip Calvin and Hobbes. It will be premiere in theaters on Nov. 15.
“Mr. Watterson has inspired and influenced millions of people through Calvin & Hobbes,” the documentary’s website explains. “Newspaper readership and book sales can be tracked and recorded, but the human impact he has had and the value of his art are perhaps impossible to measure. This film is not a quest to find Bill Watterson, or to invade his privacy. It is an exploration to discover why his ‘simple’ comic strip made such an impact on so many readers in the 80s and 90s, and why it still means so much to us today.”
The documentary began in 2007 as a passion project for director Joel Allen Schroeder, who turned to Kickstarter in 2010 to raise $25,000 to enable him, producers Christopher Browne and Matt McUsic, and cinematographer Andrew P. Waruszewski to film interviews with cartoonists Bill Amend, Berkley Breathed, Keith Knight, Stephan Pastis and Dan Piraro, Charles Schulz’s widow Jean Schulz, Watterson’s editor Lee Salem and others. They then returned to Kickstarter last year, where they generated another $96,772 in pledges. Dear Mr. Watterson had its festival premiere in April at the Cleveland International Fan Festival.
According to Deadline, Gravitas and Submarine Deluxe will make the documentary available On Demand the same day as its theatrical debut.
Creators | Pickles creator Brian Crane, who was recently named Outstanding Cartoonist of the Year by the National Cartoonist Society, talks about how he was ready to give up on his dream of being a cartoonist after his pitches were rejected by three syndicates, but his wife wanted him to keep going: “To prove her wrong, I sent it to The Washington Post Writers Group. She proved to be right. Since then, I’ve learned: She’s almost never wrong.” [Comic Riffs]
Comics | Chicago City Council recently passed an ordinance, which takes effect in July, regarding wage theft, and Interfaith Worker Justice, a Chicago organization, has put together a 32-page comic explaining workers’ legal rights and what recourse they have if their employers illegally withhold their wages. [Crain’s Chicago Business]
The Boston Phoenix, the groundbreaking alternative weekly that in recent years had carried the work of cartoonists ranging from Matt Bors and David Sipress to Karl Stevens and Brian McFadden, has closed after nearly five decades.
The announcement was accompanied Thursday afternoon by a tweet saying, “Thank you Boston. Good night and good luck.” The current issue, dated March 15, will be the last; a final online edition will appear March 22. Executive Editor Peter Kadzis told The Boston Globe that about 40 employees will be let go within the week with another 10 following soon afterward. There will be no severance pay.
In a statement circulated Thursday to staff members and reposted on the Phoenix’s website, Publisher Stephen M. Mindich attributed the closing to a combination of the economic crisis, changes in the media industry and a decline in advertising. Just six months ago the company changed to a magazine format in an effort to attract more advertisers.
“We are a textbook example of sweeping marketplace change,” Kadzis said in a statement. “Our recent switch to a magazine format met with applause from readers and local advertisers. Not so — with a few exceptions — national advertisers. It was the long-term decline of national advertising dollars that made the Boston Phoenix economically unviable.”
Its sister publications The Portland Phoenix in Maine and The Providence Phoenix in Rhode Island, will remain open.
Awards | Dan Perkins, better known to his readers as Tom Tomorrow, is the winner of this year’s Herblock Prize for excellence in editorial cartooning. Panelist Matt Bors cited his “consistently hilarious takedowns of women-bashers, gun culture and the president’s abuse of executive power.” The finalist was Sacramento Bee editorial cartoonist Jack Ohman. The award includes cash prizes of $15,000 (after taxes!) for the winner and $5,000 for the finalist. [The Daily Cartoonist]
Publishing | Dark Horse founder Mike Richardson explains how the company develops licensed properties, specifically “expanded universes” that build on the world of a movie or video game: “So we came up with the idea that we could approach these licensed properties as sequels, particularly in the early days when we focused primarily on film. We’d sit down like fanboys and say ‘Okay, that was great, what can we do next?'” [Forbes]
Palestinian cartoonist Mohammad Saba’aneh, a contributor to the Cartoon Movement comics journalism site, was arrested by Israeli authorities on Saturday and is being held without access to a lawyer, a situation that could continue indefinitely. The Cartoon Movement blog has been tracking the story as well as the reaction by international organizations.
Saba’aneh is a political cartoonist for Al-Hayat al-Jadida, the official newspaper of the Palestinian National Authority, the governing body for the West Bank and the Gaza Strip, and his cartoons comment on the political and human rights situation of the region, often criticizing the Israeli detention of Palestinians. He also works in the public relations department of the Arab American University. He visited the United States in 2010 as a participant in the State Department’s International Visitor Leadership Program.
On Thursday, an Israeli military court extended Saba’aneh’s detention for nine days, and further extensions are possible. According to the International Council for Human Rights, “The Israeli security forces refuse to disclose any details on Mohammed Sabaana’s whereabouts and further deny to grant access to his lawyer or his family members. He is also at serious risk of torture and ill-treatment.”
Awards | Brian Crane (Pickles), Rick Kirkman (Baby Blues) and Stephan Pastis (Pearls Before Swine) have been nominated for the 2012 Reuben Award for Outstanding Cartoonist of the Year, presented by the National Cartoonists Society. [National Cartoonists Society]
Awards | Nominations are being sought for the Russ Manning Most Promising Newcomer Award, which will be presented July 19 at Comic-Con International during the Eisner Awards ceremony. The deadline is April 5. [Comic-Con International]
“[T]hey broke my spirit,” Don Rosa wrote in an epilogue to his autobiography in comics, explaining why he retired from the job he so dearly loved. The whole tale is heart-breaking but also beautiful in the cartoonist’s abundant gratitude and humility.
“They” of course are Disney and its publishing licensees who don’t pay their comics talent any royalties whatsoever despite the incredibly healthy exporting of Disney comic books around the world. Rosa created Donald Duck and Uncle Scrooge comics for almost 20 years and only ever received a flat page rate, as though it were the 1940s. His rate was better than other Disney comics artists at the time because he was so popular, but his wife was still the primary provider for the family. She was a school teacher, a profession not typically known for financial excess.
Whenever I hear about these kinds of stories, I always wonder why the creator doesn’t turn to creator-owned comics, which allow freedom on many levels, and a greater potential for financial benefit. The Walking Dead, anyone? Rosa, the internationally beloved cartoonist, doing his own comic book series or graphic novel would be an event. It seems like a no-brainer. But it’s easy to forget that for some creators, despite the opportunities, that option is a non-starter.
We warned you about this a few weeks ago: Jerry Holkins and Mike Krahulik, the duo behind the ultra-popular webcomic series Penny Arcade, are looking to cultivate the next generation of comic artists with a web TV series titled Strip Search.
It’s a reality competition series in which 12 aspiring webcartoonists are locked in a house and pitted against each other in a Thunderdome-like scenario (minus a mohawked Tina Turner) in which their talent, skills and dedication are tested with the ultimate prize of $15,000 in cash and a year working in Penny Arcade‘s offices and taking advantage of the company’s resources. Even the break room.
The show is set to premiere later this month, with the
cast members cartoonists already announced. As we await the first episode, scan through the artists’ bios and choose your early favorites.
Don Rosa, who drew Disney’s Scrooge McDuck and Donald Duck comics for many years has written a lengthy and fascinating piece on why he gave up creating comics.
Rosa, who started working on the series in early middle age, gave up making comics entirely in 2012 for a variety of reasons, including vision problems caused by a detached retina, depression, and frustration that the studio pays no royalties on his comics — a situation that he says is unique to the comics, as other Disney creators do get royalties. (One possible reason for this is that the Disney comics are produced by freelancers working for third-party companies, not for Disney itself.) That became particularly galling once Rosa was well enough known that the collections featured his name in the title — but he still didn’t see a dime. His response was a clever one: He copyrighted his name so publishers would have to ask his permission to use it to promote the books.
Rosa also explains why he didn’t make the switch to creator-owned comics:
I don’t know, maybe lists like the widely reported rundown of “National Organizations with Anti-Gun Policies” on the website of the Institute for Legislative Action — the lobbying arm of the National Rifle Association — are common, but just seldom made public. It seems rather Nixonian, to be honest. Who keeps an enemies list any more?
The list includes not only organizations but companies and individuals who have in some way publicly endorsed gun regulation, whether as a member of the Brady Campaign or just chattin’. And 14 editorial cartoonists make the cut. Alan Gardner helpfully pulls them out: Tony Auth, Steve Benson, Jim Borgman, Stuart Carlson, Mike Lane, Mike Luckovich, Jimmy Margulies, Jim Morin, Mike Peters, Kevin Siers, Ed Stein, Tim Toles, Garry Trudeau and Don Wright.
What do you do when you’ve created a comic book series that’s become more successful than you ever imagined? Branch out. It’s what Robert Kirkman did once The Walking Dead established itself as a hit, and in the webcomics world Jerry Holkins and Mike Krahulik of Penny Arcade have been doing the very same thing — and their creation keeps getting bigger. And last summer, when their $250,000 Kickstarter campaign generated double its goal, they included some ambition stretch goals — one of which is coming true next month.
In February, Penny Arcade will launch Strip Search, a reality/competition television series in which 12 cartoonists live together in a house and compete to win a $15,000 cash prize and space in Penny Arcade‘s Seattle offices for a year, complete with support from the company with merchandise, marketing and infrastructure.
Described by Krahulik as “Hell’s Kitchen for web cartoonists,” Strip Search isn’t a new idea — CBR did Comic Book Idol for several years — but rather a new format. The show, which is being produced by the comedy troupe/video studio LoadingReadyRun, will feature 12 up-and-coming cartoonists including indie artist Erika Moen. Filmed late last year, Strip Search will debut in February at Penny Arcade’s PATV and will also appear in some unannounced other venues. For more I talked with Penny Arcade‘s Jerry Holkins, along with Robert Khoo, the comic franchise’s president of operations and business development.
I’m sitting here looking at a stack of how-to-draw-manga books, and I’m feeling very guilty.
These books were sent to me as review copies, and I feel it’s my duty to review them. They are thoughtfully designed and beautifully produced, and they aren’t cheap. People think being a reviewer is all beer and skittles and free comics, but those comics aren’t free; they carry a serious responsibility with them, and I’m afraid that in the case of these books, I have failed miserably.
The problem is that I don’t believe in the basic mission of these books. I say this as someone who once had aspirations to being a fine artist and who later edited art-instruction books. Let me explain.
When I was in college, I loved the idea of being an artist, but I lacked talent. That didn’t stop me from soldiering through school — I have a BFA and an MFA in studio art — but when I got out into the real world and started trying to make my way as an artist, I realized I lacked both the knack and the spark I needed to be successful.
Nonetheless, I went from being a terrible draftsman to a better-than-mediocre draftsman during that time, and I didn’t do it by reading books. I did it by drawing. So here’s the advice I have for all aspiring comics artists everywhere: Draw from life. You’re better off using those how-to books in an interesting still-life setup and drawing that than copying the illustrations you will find inside.
On Dec. 31, James Kochalka ended his 14-year run on his diary comic American Elf, but others have taken up the baton, at least temporarily: A number of webcomics artists have created homages to the strip, and Kochalka is re-posting them on his Tumblr.
They include comics more or less in the style of American Elf by Lewis Trondheim, Superf*ckers director Fran Krause and a host of others, expressing a range of emotions from grief to gratitude. Also included in the tributes is a giant picture of every American Elf strip and another that averages the 14 years’ worth of the strips to produce an “eigencomic.”
It’s really interesting to look through them and see how a single (albeit long) comic inspired such a range of responses — and how much people seem to enjoy drawing themselves in Kochalka’s unmistakable style. And, as Kochalka remarks on one of the posts, “Quitting American Elf has kind of been like being able to die and go to my own wake!”