Axel-In-Charge: In-Depth with Alonso on Marvel's "All-New, All-Different" Lineup
Legal | There’s one fewer party in the lawsuit over the use of the term “comic con”: Newspaper Agency Corp., which produces materials for Salt Lake Comic Con, has settled with the organizers of Comic-Con International in San Diego. Comic-Con sued both in August, claiming trademark infringement. Update: A Comic-Con International spokesman clarified that the settlement with the Newspaper Agency Corp. — a printing, advertising and delivery company owned by The Salt Lake Tribune and the Deseret News under a joint operating agreement — is already in effect, with the company agreeing to a court order that prevents it from using the mark “Comic-Con,” “Comic Con” or its variants in the materials it produces. The lawsuit against Salt Lake Comic Con organizers continues. [The Salt Lake Tribune]
Crime | Someone tossed a homemade fire bomb into the offices of the German newspaper Hamburger Morgenpost at about 2 a.m. on Sunday. Firefighters put out the fire quickly, and no one was in the offices at the time. The paper published three of the controversial Prophet Muhammad cartoons from Charlie Hebdo on Thursday with the headline “This much freedom must be possible!” [The Telegraph]
Editorial cartoons | Michael Kupperman relates his frustrating, and short-lived, experience as a cartoonist for The New York Times. [The Hooded Utilitarian]
Retailing | Dennis Barger, co-owner of Wonderworld Comics in Taylor, Michigan, and the driving force behind the new retailer association CBRA (Comic Book Retailers Alliance), says direct-market stores want publishers to pull back on same-day digital release, and debut the print comics first. He says ComicsPRO, the established, much larger, trade organization, is taking the wrong approach in trying to adapt to digital. Barger also feels that hand-selling by employees, not social media, is what propels sales of comics, especially non-Big Two titles: “The employees at local comic shops pushing these books is the difference in being in the top 200 and the bottom 300 in sales for those books.” A shift to digital, which removes the local comics shop from the equation, would thus harm second-tier publishers such as Dark Horse, BOOM! Studios and IDW. The association was able to purchase an exclusive variant cover for The Amazing Spider-Man #1, drawn by John Romita Sr., for its members. [The News-Herald]
Retailing | Hastings Entertainment, which operates a chain of 149 stores that sells books, comics, video games and more, has announced a $21.4 million agreement to merge with two companies owned by Joel Weinshanker, president and sole shareholder of Wizkids parent National Entertainment Collectibles Association; Weinshanker already holds 12 percent of Hastings’ outstanding shares.
“NECA is a significant supplier of movie, book and video game merchandise and collectibles to the Hastings superstores, and we’ve had a close and growing business relationship with Mr. Weinshanker over the last decade,” John H. Marmaduke, Hastings’ chairman and CEO, said in a statement. “Mr. Weinshanker, through his affiliation with the estates of Marilyn Monroe, Elvis Presley and Muhammad Ali, and his company’s management of Graceland, is one of the leading drivers of the lifestyle industry, and we believe Hastings’ business will continue to benefit from our relationship with him and NECA.” Marmaduke will retire with a $1.5 million cash payout once the merger is approved. The announcement was followed by press releases from two New York City law firms that say they’re investigating the plan on behalf of Hastings shareholders. [press release]
Dennis L. Barger Jr., the retailer who last week publicly criticized the “sexualized” nature of Mimi Yoon’s Powerpuff Girls #6 variant, leading Cartoon Network to withdraw the cover, has released an open letter in which he calls upon the comics industry to police itself, and to keep film studios and television networks out of the decision-making process.
The remarks from Barger, co-owner of Wonderworld Comics in Taylor, Michigan, follow a sharp response by Yoon in which the artist criticized him, in part, because “he brought up kids and used protecting kids and kids’ perspective in his reasoning/excuse.”
In his open letter, in which he touches upon a dwindling readership and the need to reach a younger audience, Barger writes, “I will not discuss why this cover upset me and this is the last time I care to talk about it, aside from this. I did not feel that it was appropriate for the cover of a book aimed at young children, especially young girls, and many people agreed with me. A Hollywood corporate machine like Warner Bros and Cartoon Network would not have pulled it unless enough people saw that this was inappropriate in some way.”
Read Barger’s full letter below: