Retailing | The rental chain Tsutaya and the bookstore chain Yurindo have returned Kuroko’s Basketball books and DVDs to their shelves after “X-Day,” Nov. 4, passed without incident. Someone has sent hundreds of threatening letters to convention sites, bookstores, the media and Sophia University (the alma mater of Kuroko’s Basketball creator Tadatoshi Fujimaki), over the past year, and the most recent batch of letters said that “X-Day will be on the final day of the [Sophia University] school festival.” Meanwhile, police are checking security cameras near all the mailboxes in the districts from which the letters were mailed, looking for suspicious people. [Anime News Network]
Comics | Brian Steinberg looks at Archie Comics’ most radical move yet: the relatively adult Afterlife with Archie, which literally turned America’s most iconic teenagers into zombies. Steinberg talks to Archie CEO Jon Goldwater, writer Roberto Aguirre-Sacasa, artist Francesco Francavilla and others about the significance of this comic, which sold almost 65,000 copies to the direct market. [Variety]
Retailing | Fans of the Fall River, Massachusetts, retailer StillPoint Comics, Cards & Games kicked in $5,000 in a GoFundMe campaign to keep the store in business. The shop, which opened in 1997, had to close for 10 days last month after its power was shut off. [The Herald News]
Publishing | Following confirmation last month of a Space Mountain graphic novel series, Heidi MacDonald talks with executives from Disney Publishing Worldwide about the expansion of the new Disney Comics imprint. [Publishers Weekly]
Events | Sean Kleefeld reports on Day 1 of the Billy Ireland Cartoon Library & Museum Grand Opening Festival of Cartoon Art in Columbus, Ohio. [Kleefeld on Comics]
Check out the Boston public radio website WBUR for a powerful example of comics journalism: Invisible Injury: Beyond PTSD explores the emotional consequences of the decisions that soldiers make during wartime — decisions that often go against their own moral code.
“Moral injury” is something different from post-traumatic stress disorder. As the introduction explains, “Post-traumatic stress disorder is triggered by a terrible event — in combat, that’s often something that has happened to you. But what about a terrible event that has happened because of you?” The comic explores that question through a combination of conversations with veterans, flashbacks to actual events, and concise summaries of research on the topic. The visual medium really brings it to life, not just in the depiction of events but also in illustrating more abstract ideas, such as the way soldiers may become gradually alienated from the rest of the world in the course of war.
Symbolia is a digital magazine that blends comics and journalism, using the medium as a way to tell true stories. The format is particularly powerful on the Symbolia iPad and Kindle Fire apps, which bring in sound and other interactive features to enhance the storytelling, but it also has a PDF version that will work on any computer or tablet, albeit without the special features.
The latest issue, “Heroines,” features five first-person narratives from women around the world. All are powerful — the struggles of a Dalit (low-caste) woman in Nepal, the testimony of two women who were guards at Guantanamo — but the one that caught my eye was “Luna of Cairo,” the story of an American woman who works as a bellydancer on a tourist boat on the Nile.
Illustrated by Leela Corman (Unterzakhn), “Luna of Cairo” offers an inside look not only at the life of a bellydancer but also at the life of a foreigner in Egypt. The excerpt below focuses on the casual sexism that Luna and the other women of Egypt encounter every day — and its corrosive effects.
To read the rest of Luna’s story and meet other heroines, check out this month’s issue; Symbolia is reasonably priced at $2.99 per issue or $11.99 for a six-issue subscription.
What do you when the world around you is going crazy? If you’re a creator, you create.
Brazil has been in turmoil over the past week after demonstrations over a rise in transit fares mushroomed into a series of protests throughout the country about a broader range of issues. Comics creators, and brothers, Fábio Moon and Gabriel Bá saw their home city of São Paolo turn into “a war zone” last week after the police reacted with extreme violence to what began as a peaceful demonstration. So they responded the way creative people do, by making comics about the demonstrations. Both are powerful statements presented in different ways; Moon simply draws himself giving his take on the protests, while Bá draws scenes of his beloved city and of the police shooting at the protestors. See their comics in full on their website.
Both brothers pledged to be at yesterday’s demonstration. “On June 17, I will go to the streets to tell my story and to defend the right of other people to tell theirs,” Bá says at the end of his comic. Watch their blog for more updates.
It’s going to take a while to get to us, but it looks like it will be worth the wait: Drawn and Quarterly announced it will publish Sarah Glidden’s next graphic novel Rolling Blackouts.
Glidden’s first book, How to Understand Israel in 60 Days or Less, received quite a bit of favorable attention when it came out in 2010, and since then she has burnished her career with a number of short journalistic comics at Cartoon Movement and other sites; check out The Waiting Room, about Iraqi refugees, and State of Palestine, both of which are short but thought-provoking.
Here are the details on Rolling Blackouts:
Publishing | The Amazing Spider-Man #700 led the pack in the December comics numbers with 200,000 copies selling to comics shops, and with a cover price if $7.99, it racked up a cool $1.6 million in sales. Avengers #1 sold 186,000 copies but at a more reasonable price, so the dollars didn’t pile up as high for that one. ICv2 also has the December charts for the Top 300 comics and graphic novels in the direct market. John Jackson Miller takes it to the next level with sales estimates for the top 1,000 comics and trades of 2012. [ICv2]
Publishing | At the other end of the scale, Rob Clough talks to Chuck Forsman, the guy behind micropublisher Oily Comics. [The Comics Journal]
Legal | A Belgian court of appeals has ruled that Tintin in the Congo is not racist and stated that the book has “gentle and candid humour.” The ruling came in a case brought in 2007 by Bienvenu Mbutu Mondondo, an immigrant from the Congo, and the Belgian Council of Black Associations. Although Herge himself expressed regret in later life for the book, which includes numerous depictions of black characters as stupid and inferior, the court did not support the plaintiffs’ claim that “The negative stereotypes portrayed in this book are still read by a significant number of children. They have an impact on their behaviour.” [Sky News]
Manga | Tezuka Productions, which handles the works of Osamu Tezuka, has signed a deal for Diamond Comic Distributors to distribute its comics, toys, T-shirts and other products outside of Japan. [Previews World]
Comics | Sean Howe, author of Marvel Comics: The Untold Story, discusses the clash between the creative drive and the corporate interest, as it played out at the House of Ideas: “There’s certainly a cautionary tale in there, but I think it’s inevitable — because Marvel Comics is a really rich example of the way that pop culture works and that the Marvel story really gets to the way that art and commerce are always going to be battling it out in pop culture. If you’re trying to have mass appeal and artistic expression at the same time, there are going to be compromises. And when you bring powerful corporate interests into the equation, it’s pretty predictable what will happen.” [The Phoenix]
Digital comics | I talked to Viz Media Executive Vice President Alvin Lu and the head of Viz Labs, Gagan Singh, about the company’s digital strategy, which includes the recent announcement that their digital magazine Shonen Jump Alpha will publish manga chapters simultaneously with Japan; the idea, Lu explains is to create the same sort of weekly ritual that superhero comics readers have, and to use the digital releases to build a community both online and in the real world. [Good E-Reader]
Creators | Fantastic Four was the first Marvel Universe comic, so it has been around for a while, but writer Matt Fraction is doing his best to keep it fresh: “Anything you can do to run contrary-wise to expectation to keep people guessing and wondering and entertained and surprised, you should do because otherwise people are going to dismiss the book as ‘Been there, read that.’” [USA Today]
Legal | South African President Jacob Zuma has formally withdrawn his defamation lawsuit against cartoonist Jonathan Shapiro (who goes by the pen name Zapiro) and will pay a portion of his court costs as well. Zuma dropped part of the case last week, a claim of 4 million rand for “impairment of dignity.” A spokesman for Zuma said the president had more important things on his mind and didn’t want to set a precedent that “may have the effect of limiting the public exercise of free speech.” [The Citizen]
Passings | The Catalan artist Jose Luis Ferrer, who signed himself simply “Ferrer,” died Monday of a brain tumor. Ferrer’s work appeared in 2000AD, Starlord and other British comics, but he was an international artist with work published in Germany, France, Sweden and the United States as well. [Down the Tubes]
Conventions | Jason Knize makes a case for New York Comic Con potentially becoming “the Comic Con” next year, surpassing Comic-Con International as the completion of renovations on the Jacob Javits Center frees up an additional 90,000 square feet of space. However, he notes that space and attendance — NYCC’s 116,000 this year versus CCI’s 130,000 or so — certainly aren’t the only determining factors. [Panels on Pages]
Comics | Don MacPherson, who’s a newspaper reporter as well as a comics blogger, ponders Clark Kent’s departure from The Daily Planet in this week’s Superman #13: “In the scene in which Clark issues his ideological proclamation, Perry White retorts, ‘Go easy on us mortals, Clark. Times are changing and print is a dying medium.’ The challenges the Planet faces in the story reflect not only real-world ones in the newspaper industry, but also those faced by DC Comics itself as it struggles to stave off ebbing readership and find a way to foster an audience for online comics. Digital-publishing initiatives in the world of comics aside, I feel it important to argue Perry is wrong. Print isn’t a dying medium. What’s dying are past business models.” [Eye on Comics]
Digital comics | The Japanese web portal JManga today launched an unlimited-access site JManga7, although it won’t be putting any actual content on it until October. Unlike JManga, which sells digital manga one volume at a time, JManga7 operates on an “all-you-can-eat” model, with single chapters of a variety of titles available for free, and a wider selection with a paid subscription. The site will be updated daily and will include a mix of genres, with some new content that is being published close to its Japanese release date as well as some older series. The idea is for readers to check out the manga at JManga7 and ultimately buy them for keeps at JManga. To encourage readers to pre-register, JManga is raffling off seven Nexus 7 tablets and seven free subscriptions. Plans for the site were unveiled last month at Comic-Con International in an exclusive interview with Comic Book Resources. [JManga]
First of all, we need to think up some new terms to distinguish journalism done via comics — as practiced by, say, Joe Sacco — from journalism about comics. Suggestions gleefully accepted!
Whatever we call it, sequential-art reporting is definitely coming into its own, and we have the links to prove it. For starters, here’s a video of the Comics and Journalism in a New Era panel at Comic-Con International, moderated by Publishers Weekly comics editor Calvin Reid and featuring a stellar lineup of Susie Cagle (who
has been involved in as well as reporting reported* on Occupy Oakland), Andy Warner, Stan Mack, Ed Piskor, Dan Carino and Chris Butcher.
This is sort of a good news-bad news post. The good news is that Joe Sacco’s latest comic Kushinagar is available online, for free, thanks to the Indian “narrative journalism” magazine The Caravan. Sacco, who perfected the art of journalistic comics in works like Palestine, Safe Area Gorazde and Footnotes in Gaza, has shifted his focus in this comic from war to the everyday struggles of the Dalit (members of the caste once known as the untouchables) in a rural village in Uttar Pradesh.
The bad news is that the comic is embedded in a Flash-based reader that is balky and slow to load, so reading it is going to take some time. It was buggy in my Safari browser and wouldn’t load at all in Chrome. It’s worth the wait, though: The comic is an eye-opening look at the inequality that still exists in India and the castes-within-castes that rank people — and give some power over others — in a system that is difficult to change.
(via The Comics Journal)