"Deadpool" Sequel in Motion, Screenwriters to Return
Sales | Sales of comic books and graphic novels to comic books stores through Diamond Comic Distributors increased 27.5 percent in January compared to the same month in 2011. Comics were up 32 percent while graphic novels were up 18 percent compared to 2011. DC Comics dominated all 10 spots at the top of the chart, with Justice League #5 coming in at No. 1. Batman: Through the Looking Glass was the top graphic novel for the month. [ICv2]
Passings | British comics artist Mike White, who illustrated Alan Moore’s The Twisted Man and numerous other stories for 2000AD, Lion, Valiant, Action and Score ‘n’ Roar, has passed away after a long illness. [Blimey!]
Publishing | Because the world demanded it, apparently, Random House plans to publish e-books of all the collected editions of Garfield newspaper comics. [Down the Tubes]
New York Magazine has a slideshow up this week about Pizza Island, the Greenpoint, Brooklyn, studio where six comics creators make the magic happen.
The slideshow includes self-portraits of Julia Wertz (Fart Party, Drinking at the Movies), Kate Beaton (Hark, A Vagrant) Lisa Hanawalt (I Want You), Sarah Glidden (How to Understand Israel in 60 Days or Less) Domitille Collardey (whose works are mostly in French), and Meredith Gran (Octopus Pie) as well as comments on each one by a co-worker. (It was Lisa and Domitille who commented on that Frank Quitely piece, so it’s interesting to contrast their self-portraits with his version of a woman cartoonist.)
There’s a whole lot of talent working in that small space, and if you’re fortunate enough to be going to MoCCA, be sure to check out their panel, which will feature all six. If you’re not, then head on over to the Pizza Island blog, where, at the moment, everyone is showing off their work spaces and discussing the quirks of their desktops.
“Something about this poster really rubs me the wrong way (and it ain’t just the daisy dukes wedgie). People can draw whatever they want and Frank Quietly is a great artist, but honestly this makes me want to avoid that event like the plague.”—Lisa Hanawalt
“I think if this flyer wasn’t representing a girl cartoonist I would not be annoyed like I am now. I’m just mildly annoyed. Also it made me laugh a lot because the women cartoonists I know are way sexier than that.”—Domatille Collardey
The cartoonists behind such books as I Want You and What Had Happened Was… respectively take issue on their Twitter accounts with the promotional art for a rare stateside appearance by Batman and Robin artist Frank Quitely tomorrow night, the proceeds from which will be donated to the Comic Book Legal Defense Fund. Please note that neither person is saying it’s the worst thing in the world or that Quitely’s some kind of creep, just that it’s an odd and off-putting choice of image for the event. I was taken aback by it myself, and I say that as someone who admires Quitely’s art generally and his sexy-ish art specifically. Maybe it’s the visible underwear, giving me flashbacks to every superhero artist who’s drawn some poor woman’s thong sticking out of her jeans? Or maybe, as Collardey argues, it has something to do with the fact that the woman in question is, apparently, a cartoonist herself? This also makes me wonder how much our reaction to a given image has to do with who made it. If this had been done by, say, Greg Horn, would I be at all tempted to defend it? Does the quality of the artist’s overall body of work, or even of his depictions of women in particular aside from this one image, factor into the equation? Am I using rhetorical questions in order to avoid taking a coherent position?
If you were like me, the Egyptian Revolution that unfolded over the past several weeks and culminated (for the moment) in President Hosni Mubarak’s ouster on Friday was a complicated thing to know how to react to. Don’t get me wrong, I’m not like Glenn Beck prophesying the coming Luthor/Braniac-style Communist/Islamist team-up against the West, nor am I even a more run-of-the-mill conservative commentator rumbling ominously about the power of the Muslim Brotherhood. And my feelings upon seeing untold millions of ordinary, unarmed people weather the attacks of government goons quads and kick out a man who’s looted and tortured them and their country for decades (in part at America’s behest) with nonviolent protest was unalloyed joy.
But how to express that joy? Should I, even? After all, I know no more about the real political situation inside Egypt than any of the overnight experts who suddenly popped up to opine on the talk shows and cable news nets. My information was coming primarily from Al Jazeera English’s invaluable live-streaming broadcast on its website and from the Twitter streams of international and native Egyptian reporters on the ground, and from the relative oasis of calm analysis that was MSNBC’s The Rachel Maddow Show and its dialogues between host Maddow and correspondent Richard Engel. Was that enough?