Confirmed: Geoff Johns Is the New President of DC Entertainment
Comic Books, Film, TV
— Living France mag (@LivingFrance) May 24, 2016
Comics | The world’s longest comic—in terms of linear feet, not number of pages—was unveiled last week in Lyon, France, just ahead of that city’s comics festival. The comic, a time-travel story that depicts life in Lyon and Barcelona through the ages was drawn by the French artist Jibé in a normal format, then blown up and assembled panel by panel in a tunnel. The finished work is 1,625 meters long, beating the current record of 1,200 held by an American effort. [Forbidden Planet]
Legal | The prosecution says it will reduce the charges against Jonathon M. Wall, who allegedly posed as a federal agent to get into a VIP room at Salt Lake Comic Con, from a felony to a misdemeanor. Wall, who works at Hill Air Force Base, showed his ID card and said he was an Air Force special agent in pursuit of a fugitive. A retired police officer who was working as a security guard nearby got suspicious and called the real Air Force special agents. Wall pleaded guilty in April to a felony charge of impersonating a federal officer but the judge in the case rejected his plea, saying she was concerned he did not understand the consequences of having a federal felony on his record. [Deseret News]
Crime | Screenwriter and graphic novelist Blake Leibel has been arrested on charges of torturing and murdering his girlfriend Iana Kasian, who recently gave birth to their child. Leibel, the 35-year-old son of a wealthy Toronto family, is the co-creator of the graphic novel Syndrome, published in 2010 by Archaia, which he described at the time as “a lengthy graphic novel that grappled with the questions surrounding what provokes a person to commit evil acts.” The press was quick to pick up on several aspects of the murder that mirrored the graphic novel: among them, that he allegedly drained Kasian’s blood, as a character does to several victims in Syndrome. Leibel has pleaded not guilty to the charges. [The Washington Post, Los Angeles Times]
Legal | A former Emerald City Comicon volunteer has filed a class-action lawsuit accusing convention organizers of using volunteers as unpaid employees in 2014 and 2015. While it’s true that the volunteers signed on willingly — in fact, it’s rather competitive — the lawsuit argues they do work that’s essential to the convention and therefore ECCC is violating state labor laws by not paying them. “In Washington, the base is that if you are an employer, you have to pay the minimum wage,” says Hardeep Singh Rekhi, the plaintiff’s attorney. “We don’t believe that someone should be able to profit off unpaid labor, even if it’s something people love to do.” The plaintiffs estimate that there are 250 people in the affected class, i.e., people who performed the functions of employees but were not paid. Had ECCC been a nonprofit, it might have been exempt, but it was not. This year, the convention was run by ReedPOP, which did pay the staff. [Seattlish]
Awards | Ta-Nehisi Coates, the writer of Marvel’s Black Panther, has won a 2016 PEN Literary Award recognizing the art of the essay for his acclaimed memoir Between the World and Me. The author and journalist has already received a National Book Award and a MacArthur “genius grant,” as well as a nomination for the National Book Critics Circle Award for criticism. The PEN award comes with a $10,000 prize. [PEN]
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]
Legal | Algerian cartoonist Djamel Ghanem is seeking asylum in France as the prosecution and plaintiff appeal his acquittal on charges that he insulted Algeria’s president in an unpublished cartoon drawn for the newspaper Voix d’Oranie. The newspaper brought the criminal charges against Ghanem; in possibly related news, Ghanem is suing his employer for seven years’ unpaid wages. Ghanem now claims Algeria wants to make an example of him. [Radio France International, Ennahar Online]
Conventions | Mark Rahner, who has been going to Emerald City Comicon since the first one in 2003, initially as a reporter and then as a creator, talks about why the event has grown so big (75,000 attendees are expected this weekend) and why it’s still awesome anyway. [Seattle Weekly]
Thirty-six questions. Six answers. One random number generator. Welcome to Robot Roulette, where creators roll the virtual dice and answer our questions about their lives, careers, interests and more.
Joining us today is Ethan Rilly, creator of the award-winning series Pope Hats.
Now let’s get to it …
In a lengthy and fascinating article in the Indian magazine Open, Devika Bakshi explains why the close-ups of penises were pixelated in the Indian version of Chester Brown’s Paying For It, while the long-shots, and other body parts, were left alone.
Indian law says a work is obscene “if it is lascivious or appeals to the prurient interest” or if its effect is to “deprave and corrupt” anyone who sees it. There are exceptions, though, for works with redeeming features (I’m paraphrasing here; the full text is at the link), works that are used for religious purposes and “any representation sculptured, engraved, painted or otherwise represented on or in (i) any ancient monument within the meaning of the Ancient Monuments and Archaeological Sites and Remains Act, 1958 (24 of 1958).”
“… obviously, you look at your own early work and you’re sometimes dismayed. Was I that bad? Did I use that cliché, miss that nuance, mess up that character beat? But it’s also why you should know to leave well enough alone – because the you that’s doing the correcting isn’t the you who wrote the original work.”
– Mike Carey, on the temptation for creators to revise their early work
A few weeks ago we looked at Fantagraphics publishing plans for 2013. Today I thought it might be worthwhile to peek into Drawn & Quarterly’s crystal ball and see what they have in store. I skipped over some re-releases and new volumes of expected material — a new Moomin collection, a paperback release of Paying for It — mainly because I’m lazy.
You’re Just Jealous of My Jetpack by Tom Gauld. Gauld’s weekly comic gets the fancy book deal. Expect lots of really funny riffs on history and pop culture in Gauld’s stone-faced, deadpan style. January, $19.95.
To see what Ethan and the Robot 6 crew have been reading, click below …
Here are three June releases from Drawn and Quarterly: Kevin Huizenga’s Gloriana, Chester Brown’s Ed The Happy Clown and Dan Zettwoch’s Birdseye Bristoe.
They have several things in common, aside from the fact that they are all hardcover releases from the same publisher. They are all handsomely designed, for example, they all make lovely coffee table and bookshelf-filling objects, and they are all more or less important comics releases.
One of them is different in several significant ways, however.
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a splurge item.
Here’s the thing: I really can’t decide if I want to spend part of my $15 this week on Before Watchmen: Minutemen #1 (DC, $3.99). On the one hand, it’s a new Darwyn Cooke comic, and on almost every other occasion, I’d be all over that. But on the other … It’s Before Watchmen. And I don’t even mean that in the “I have moral qualms about DC’s ‘ownership’ and use of the characters” sense — although I do — but in the “I didn’t actually LIKE Watchmen that much, so why should I be interested in a prequel?” sense. Let’s table that one, then, and wait and see what happens in the store. Instead, I’ll grab Earth 2 #2 (DC, $2.99), the new Simon Spurrier book Extermination #1 (BOOM!, $1) and the weirdly-coming-out-a-month-before-the-movie Amazing Spider-Man Movie Adaptation #1 (Marvel, $2.99), if only because it’s been years since I’ve read a comic book adaptation of a movie and I want to support Marvel’s odd apparently-spoiling-itself plan.
If I had $30, I’d put Spidey back on the shelf and grab the final DMZ collection (Vol. 12: The Five Nations of New York, DC $14.99). I’ve been following the collections of Brian Wood’s series for awhile, and have been patiently awaiting this one since the series wrapped in single issues awhile back. Don’t spoil it for me, please.
Splurge-wise, I’d likely pick up the GI Joe, Vol. 2: Cobra Command, Part 1 TP (IDW, $17.99). The movie may have been put back, but I don’t care; IDW’s Joe comics are my brand of military machismo, and I dropped off the single issues in favor of collections as soon as this crossover started. Time to get caught back up and try not to think about poor Channing Tatum.
Publishing | John Jackson Miller profiles Diamond Comic Distributors to mark its 30th anniversary, offering a timeline of major events in the company’s history. [Comichron]
Retailing | Dark Horse Publisher Mike Richardson will give the keynote address at this week’s ComicsPRO Annual Membership Meeting. [NewsOK]
Retailing | Hypno Comics will open Saturday in Ventura, California. [Ventura County Star]
I don’t mind the jokes at my expense. I’m used to it. Seth and Joe [Matt] have teased me about paying for sex for years. I’m used to it.
—Chester Brown tells Tom Spurgeon that people can crack all the jokes they want about him and his patron-of-prostitution memoir Paying For It. I guess it stands to reason: “Gets emotional about things” isn’t high on a list of ways to describe Chester Brown, if that book is any indication. What’s more interesting to me is that Brown’s fellow Drawn and Quarterly-published Canadian cartoonists Joe Matt and Seth are the tough customers who hazed Brown into developing this hardened exterior. It’s a dog-eat-dog world up there.
In all seriousness, please read Spurgeon’s excellent interview with Brown, which largely eschews discussion of the book’s central topic/argument and focuses on the impeccable craft with which that topic/argument was deployed. And check out Spurgeon’s entire run of Holiday Interviews, featuring creators ranging from Colleen Coover to Stephen Bissette to Art Spiegelman to Jeff Parker to Jeff Smith, plus critics, journalists, activists and more. His comics-related New Year’s resolutions are worth considering as well.