Pak, Kuder Uncover The "Truth" About "Action Comics" Post-"Convergence"
The comics medium allows for diverse interpretations of characters, both narratively and visually. Artist Jaakko Seppälä has taken 10 of the most iconic comic characters — from Asterix to Batman to Lucy van Pelt — drawn in the style of 10 famous artists (including their respective creators or most popular illustrators).
Legal | Illustrator Greg Theakston tells The Comics Journal that during his Christmas vacation, he plans to file a police complaint against the Jack Kirby Museum and Research Center, alleging it stole about 3,000 photocopies of Kirby’s pencil work. Theakston gave the photocopies to the museum, but he contends it was intended to be a loan, while the museum says it was an outright donation. If this sounds vaguely familiar, it’s because Theakston has been threatening legal action since August. [The Comics Journal]
Creators | Paul Tumey posts a charming series of letters from Pogo creator Walt Kelly to a young pen pal (who had a pet alligator named Albert), along with plenty of backstory. [The Comics Journal]
Crime | A man was spotted on security video last week at New York Comic Con stealing a one-of-a-kind, 20-inch Dunny figure hand-painted by by Jon-Paul Kaiser valued at $2,000, plus two other items, from the Clutter Magazine booth. [DNAinfo New York]
Legal | Chinese cartoonist Wang Liming, who uses the pen name “Biantai Lajiao” (Perverted Chili Pepper), has applied for a visa to remain in Japan, saying he’s afraid to return to China. Liming’s account on the Chinese social media site Weibo, where he published his cartoons, was shut down in August, and the People’s Daily newspaper has called him a traitor and accused him of being pro-Japan. Last year, he was arrested and held overnight on charges of “suspicion of causing a disturbance.” “China’s situation surrounding freedom of speech has worsened during these six months,” Wang said in an interview. “I have no idea where the borderline is (between what is permissible and what is not anymore).” [The Asahi Shimbun]
Publishing | Both Marvel and the manga publisher Yen Press are caught in the middle of the Amazon/Hachette dispute: Hachette is accusing Amazon of suppressing sales of Hachette titles in order to force the publisher to agree to its terms, according to The New York Times. Marvel uses Hachette as its distributor and Yen is a Hachette imprint; ICv2 found evidence that several of Amazon’s cited tactics, which include shipping delays and lower discounts, were being used on their titles. In fact, Amazon is offering no discount at all on Yen Press titles at the moment. [ICv2]
Comics sales | ICv2 runs the numbers on April comics sales, and The Amazing Spider-Man #1 is the spring phenom: After three months of no comic selling more than 100,000 copies, ASM #1 sold more than 500,000, thanks in no small part to its nearly 50 variant and retailer custom covers, generating a record $3.19 million. Two other comics, Superior Spider-Man #31 and Batman #30, also hit the six-figure mark. ICv2 has the numbers for the top 300 comics and graphic novels as well. [ICv2]
The mission statement for Stripped!, a documentary by Dave Kellett (Sheldon) and Frederick Schroeder, is about forging a common history between webcomics and newspaper funnies. Not comic books, interestingly. I suppose that makes sense, as the most popular webcomics (xkcd, The Oatmeal and Penny Arcade) most closely resemble the four-panel forebears. It’s starting to become standard practice, by the way, to refer these sort of webcomics as “gag-a-day” or “short-form.”
Still, it’s a delight to explore this oft-neglected corner in the world of sequential art. The days of the celebrity cartoonists like Milton Caniff and Al Capp are long past, as depicted in archival footage where they were treated as major celebrities on early TV shows. However, the list of interviewees for Stripped! are still recognizable industry titans: Lynn Johnston. Jeff Smith. Greg Evans. Jim Davis. Mort Walker. Cathy Guisewite, who hilariously has the letters “AACK” hanging in her home. And one name that brings the directors to the point of fanboy glee, Bill Watterson … the first time he’s allowed his voice to be recorded. (Charles Schulz may no longer be with us, but his influential presence looms over the entire documentary.) It’s wonderful seeing the faces of the creators behind so many iconic characters. They gather here to reminisce, sharing crude doodles drawn as a child, their cherished influences, and the highs and lows of working under the syndicate system.
A 1966 original daily Peanuts comic strip from fetched $26,450 at auction earlier this month, surpassing pre-sale estimates of between $15,000 and $20,000.
Featuring Peppermint Patty, Linus and Snoopy, the strip was the top-grossing item in a multi-estate auction held Jan. 18 in Lynbrook, New York, by Philip Weiss Auctions. The auction was devoted primarily to Golden Age comic books, sports memorabilia and comics art, along with some original Disney production cels and paintings.
Efforts that started back in 2010 to put Snoopy on license plates in California have hit a milestone — the special plates, featuring artwork by Charles Schulz, are now available for order. And once 7,500 have been ordered, the Department of Motor Vehicles will begin production.
The proceeds from the official Snoopy license plate will go toward a grant program administered by the California Cultural and Historical Endowment to support California’s museums. The plates cost $50 for for a sequential plate or $98 for a personalized plate, with a portion of the higher fee also supporting programs to protect California’s environment. If 7,500 plates aren’t ordered in the first year (Rats!), you’ll have the option to try again next year or have your money refunded.
If you live in California and want to help Snoopy hit the road, you can order your plate here.
Conventions | This Japan Times article about Comiket provides a fascinating look behind the scenes of the dojinshi (self-published manga) fair, which each August and December new draws between 560,000 to 590,000 visitors to Tokyo Big Sight. However, even that massive convention center is becoming too small for the event; of the 51,000 booth applications for August’s Comiket 84, only 35,000 were granted because of space limitations. Incredibly, the organizing Comic Market Committee has just eight full-time employees (but more than 3,000 volunteers). [The Japan Times]
Creators | MariNaomi discusses her experience of being sexually harassed by another creator while participating in a panel at a comics convention. That’s right, she was sexually harassed onstage. [xojane]
Legal | Asterix co-creator Albert Uderzo has filed a legal complaint against his daughter Sylvie and her husband Bernard Choisy, claiming “psychological violence.” The dispute began in 2007, when Sylvie and Bernard were dismissed from their positions at Les Éditions Albert René, which published Asterix; a year later, Uderzo sold his stake in the company to Hachette Livre. The two filed their own legal challenge in 2011, claiming Uderzo, who is now 86, was being exploited by others. In this week’s filing, Uderzo says he is perfectly capable of managing his own affairs, and adds, “The sole purpose of these acts is to undermine our psychological integrity and to hasten our debility, in order to get their hands on our legacy, which they covet.” [The Guardian]
You can add Charles Schulz to the long list of artists who have been featured in IDW’s Artist’s Edition series. Along with the Jim Steranko S.H.I.E.L.D. and Captain America editions, the Dave Gibbons Watchmen edition and Jack Kirby’s New Gods edition came the news that IDW will release a Peanuts Artist’s Edition.
“Having grown up with Charlie Brown, Linus and his blanket, Snoopy and the Red Baron…I could not be happier about bringing them into the IDW family,” said Ted Adams, CEO and Publisher of IDW Publishing, in a press release. “In the world of comic art, it does not get any bigger than Peanuts.”
The first is Batter Up, Charlie Brown, another in the series of Peanuts collections organized around a theme, rather than chronologically. It’s due in April, just in time for Opening Day. As Tom notes, this must mean that last year’s Christmas-themed book went over pretty well, and he also points out that the 65th anniversary of the strip is coming up in 2015.
Next up is The Complete Eightball, collecting the first 18 issues of Daniel Clowes’ comic in a deluxe format, two hardcover volumes in a slipcase. Eightball has been collected before, but not like this: In addition to the prestige format, the new edition, which coincides with the 25th anniversary of Eightball‘s debut, includes material that has only been published in the original comics. Fantagraphics Associate Publisher Eric Reynolds told Spurgeon there is “a not-insigificant amount of strips that for whatever reason, Dan never wanted to collect.” The book will also include additional commentary by Clowes, making it sort of the director’s cut of Eightball. Watch for it in August 2014, and start saving now, as the list price is $95.
Finally, there’s Buddy Buys a Dump, the latest collection of Peter Bagge’s Buddy Bradley comics, and the first to appear in seven years. The 144-page book will include some previously unpublished material, and the expected publication date is in April.
Auctions | The original art for two Peanuts Sunday comics, one of them autographed by Charles Schulz, sold for a combined price of $78,200 at auction on June 6. [artdaily.org]
Creators | Zander Cannon and Kevin Cannon, who are doomed to be forever yoked by the parenthetical phrase “no relation,” reminisce about the days when they were paid for their work in beef, and talk about their digital-first strategy, serializing Zander’s Heck and Kevin’s Crater XV in their monthly digital magazine Double Barrel before releasing them in print. Mark Waid drops in to praise the Cannons for their digital strategy, saying, “If you let the audience access your material over the Web rather than force them to search — often in vain — for a retail outlet, they’ll be your fans for life.” [Minneapolis Star Tribune]
Comics | To mark the 75th anniversary of Superman, and the premiere this week of Warner Bros.’ Man of Steel, Edward Helmore of The Telegraph recounts the long and bitter legal feud between DC Comics and the families of creators Jerry Siegel and Joe Shuster over the rights to to the multibillion-dollar property, a battle from which the publisher has seemingly emerged victorious. [The Telegraph]
Comics | The New York Post’s Reed Tucker has some ideas on how to “fix” comics, starting with cutting the cover price to increase sales. [Parallel Worlds]
Comics | With an exhibit of original art from Charles Schulz’s Peanuts opening in a local gallery last week, a local comic convention in the works, and a thriving comics retail scene all year round, South Florida could just be the next comics hotspot. [WLRN]
I’m sharing this mostly because I just like holiday cards from comics publishers, whether I get them in the mail or see them on someone’s blog. But I also appreciate that this one includes three comics incons and the reminder that Fantagraphics has Christmas-related books featuring each of those characters. I’ve already mentioned Charlie Brown’s Christmas Stocking a couple of times (I have a copy and it is indeed as sweet and lovely as it looks), but didn’t realize that Nancy Likes Christmas and Walt Disney’s Donald Duck: A Christmas for Shacktown are also things that exist. Gonna need at least that Donald Duck one.
– Craig Schulz, son of Charles Schulz, on the ripeness of a CGI Peanuts movie
“Yeah, the technology is right. Because pen and paper was never quite good enough.”
– Russ Fischer, commenting on the story for /Film
I get what Schulz is saying. “This film” doesn’t refer to just any Peanuts movie. There have already been at least two of those in traditional, hand-drawn animation. What he’s saying is that if they’re going to try to translate the Peanuts characters to CGI, that’s not something he wanted to rush into.
But while I’m not sure that Fischer’s snark is all that fair, I’m also not exactly sure why now is suddenly the time where technology has caught up and is adequate for portraying Charlie Brown’s round head and Lucy’s lumpy hairdo as computer animation. Is Schulz suggesting that the Peanuts CGI movie needs a level of technology greater than say, Toy Story or How to Train Your Dragon?