Organizations | The Siegel and Shuster Society is seeking donations to repair the fence surrounding the former site of Joe Shuster’s childhood home in Cleveland and to help maintain the new Superman exhibit at Cleveland Hopkins International Airport. The wooden fence, which is decorated with large metal plates depicting the first Superman story from Action Comics #1, was damaged early last month by a drunken driver. Repairs are expected to cost about $3,000; any additional money will be put toward future restoration. Dedicated in October, the airport’s Superman Welcoming Center has suffered wear from visitors encouraging children to pose for photographs beside the statue. The group is seeking $1,500 to fix the damage and install a barrier to keep kids off the exhibit. Donations can be made through the Cleveland Foundation. [Cleveland Plain Dealer]
Conventions | It’s time for the mass media to start earnestly explaining Comic-Con to their readers; here’s one that gives a quick overview of the history of the con and gathers quotes from various notables, including Marvel’s Joe Quesada, the guy who runs the Walking Dead obstacle course, and CBR’s Jonah Weiland. [The Long Beach Press-Telegram]
Since the dawn of the medium, comic books largely have been the creation of writers and artists working hand-in-hand to produce the characters, stories, titles and universes you follow each week. Recently, however, lawsuits by comic creators against publishers — and sometimes other creators — have raised the question of where, when and how a comic is truly created. Are they the product of the writer, with the artist simply tasked to illustrate the story based on instructions laid out in a script or outline? Or is it a communal effort, with writer and artist both providing unique contributions to the creation of the character and setting, each serving as a storyteller in the planning, coordination and draftsmanship of the actual comic pages? In recent years, comics have become a writer-centric medium, for better or worse, but artists continue to play a crucial, if sometimes overlooked, role in the design of characters and transformation of the writer’s scripts into, you know, comics.
In an interview with ICv2.com, Howard Chaykin relayed a story about how an unnamed writer views an artist’s contribution as “absolutely nothing to do with the creative process in comics.” “I am of the belief that the artist does 50 percent of the ‘writing’ in comic books,” said Chaykin, who’s worked as a writer and artist for decades. “I think the guy is plum crazy. It staggered me in its limited understanding of what comic books are about.”