SDCC: Marvel's "Doctor Strange" Combats "Death and Pain" in New Trailer
Comic Books, Film
Creators | Pierre Christin, the creator of Valerian and Laureline, discusses the possibility that his space opera was a source for the Star Wars movies — and how he and his collaborator Jean-Claude Mézières changed the story to move it away from the Star Wars universe: “I instantly felt connected with Star Wars because of the number of intersections and parallels with our comic strips. George Lucas had created complex worlds, just as we had. Like us, he had staged the functioning of societies from within, although Star Wars focused perhaps a bit more on the struggle between good and evil. In this respect, Valerian was more European, more intellectual.” [EuropeComics]
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]
Cosplay | Visiting New York Comic Con, Andrea Romano takes a look at the world of cosplay, the issue of sexual harassment — one person notes it’s certainly not exclusive to cosplay, observing, “There’s harassment when a woman is just wearing a crop top on the street” — and efforts being made to stop it. Convention organizers placed their new anti-harassment policy front and center this year, and it seems to have helped: There were just eight reported incidents of sexual harassment during the four-day event. [Mashable]
Conventions | Fensterman talks at greater length about NYCC’s anti-harassment measures in this article, which contrasts the comics scene with what’s going on in the gaming world. [Time]
Conventions | ReedPOP Senior Vice President Lance Fensterman talks about how New York Comic Con reached 151,000 attendees this year, what went well, what could have gone better, and what he learned for next time. The new badges and check in/check out system, introduced last year, let producers know exactly how long people stayed at the show, and that turned into a nice surprise for two attendees: “There was a couple [last year] who literally spent every minute that was possible at New York Comic Con for three and a half days. We reached out to them and did something special for them—gave them a bunch of free stuff and free tickets because they were at the show longer than anyone who wasn’t paid to be at the show.” [ICv2]
Political cartoons | Egyptian cartoonists Mohamed Anwar and Andeel discuss the difficulty of critiquing Egyptian president Abdel Fatah al-Sisi, who doesn’t tolerate dissent; Anwar is a cartoonist for a mainstream newspaper and pulls some punches as the tradeoff for reaching a wide audience, while Andeel has moved over to the alternative press, where he can speak more freely. [The Guardian]
Anda is a teenager eager for a place to spread her wings, and she finds it in Coarsegold Online, a massively multiplayer role-playing game in which she can make friends, slay monsters and build self-confidence. But when she befriends a gold farmer — a poor kid from China whose avatar collects valuable game objects to sell to players with money to spare, in violation of the rules — Ada quickly learns life is more complicated than it first appears online.
Arriving Tuesday from First Second Books, In Real Life is Cory Doctorow and Jen Wang’s adaptation of the acclaimed author’s 2004 short story “Anda’s Game.” It’s a beautifully illustrated graphic novel that touches upon myriad timely issues, ranging from bullying to economic inequality to safe spaces for female gamers, while maintaining the strong emotional thread of Anda’s journey.
To celebrate the release of his debut graphic novel, Doctorow — the author of Little Brother, Homeland and Pirate Cinema — participated in a “30 Questions” blog tour, answering a few questions at a different site each day. Today is ROBOT 6’s turn.
It’s been a busy week for First Second: Following on its announcement of The Stratford Zoo, which features animals staging a production of Macbeth, the publisher has revealed two more graphic novels.
InRealLife, written by Corey Doctorow and illustrated by Jen Wang, is a story about the human side of gaming—specifically, the “gold farmers” who make real-world money from gaming. Based in part on the experiences of Doctorow’s wife, who was a high-level gamer in the 1990s, the book revolves around a teenager named Anda who’s recruited into a fictional multiplayer online game, Coarsegold, and ends up as a player in the game’s underground economy.
The graphic novel will explore attitudes about gaming and gamers, and, Doctorow says in an interview at Kotaku, there is a larger point:
When you contemplate the microscale phenomenon of a world-in-a-bottle like an MMO and the toy economy within it, it equips you with a graspable metaphor for understanding the macroscale world of monetary policy. In other words: thinking about gold farming is a gateway drug to thinking about money itself.
In a short interview conducted at the Tools of Change event, Cory Doctorow argues that piracy, like gravity, is a fact of life that just has to be dealt with:
Saying piracy is not acceptable is like saying gravity makes my back hurt. There is a difference between a problem and a fact…You can very firmly believe that it’s incredibly bad for people to pirate things, but there’s no future in which the internet makes it harder to copy. There’s no articulatable theory of reducing piracy on the internet that doesn’t come from someone trying to sell you something.
The difference between facts and problems is facts are things you try to accommodate, problems are things you try to solve.
(Emphasis added.) He’s talking about all piracy, not comics in particular, but his point is very relevant to the current comics scene: The technology that allows people to copy and share work is not going to go away, and therefore it must be dealt with.