minicomics Archives - Robot 6 @ Comic Book Resources
According to The Hollywood Reporter, a federal judge last week sided with the toymaker in its 2013 lawsuit against writer Donald Glut, who claimed he created the characters in 1981, owns the copyrights and merely licenses them to Mattel (a license, he said, that would expire in 2016).
The company insisted Glut was commissioned to write “He-Man and the Power Sword,” “The Vengeance of Skeletor,” “Battle in the Clouds” and “King of Castle Grayskull” and to create backstories for He-Man and other characters under the direction of the toymaker. Mattel noted the writer acknowledged as recently as 2001 that the minicomics were work for hire for which he received neither credit nor royalties. Besides, the toymaker argued, if there were any confusion about the rights, Glut had a legal obligation to come forward years ago.
Glut’s attorneys countered that his delay wasn’t unreasonable, as he believed his claim fell within the termination period stipulated by U.S. copyright law. But Mattel insisted that because the minicomics were work for hire, Glut never owned the copyright to be able to license or terminate it.
Glut, who wrote the novelization of The Empire Strikes Back, also penned episodes of such animated series as Spider-Man and His Amazing Friends, The Transformers and Centurions, as well as issues of Marvel’s Captain America, Conan Saga, The Invaders. Kull the Destroyer and The Savage Sword of Conan.
Earlier this year, the small publisher Oily Comics suspended its subscription service. But it’s back, with Publisher Charles Forsman (creator of TEOTFW) tweeting Sunday that Oily is offering a new spring bundle that will be out in March. It’s available for pre-order now, and the full bundle is limited to 200 copies.
I checked in with Forsman to see what the story is with Oily and get some details on the new bundle.
Brigid Alverson: What’s going on with Oily Comics? Are you changing your business plan? How is this different from the way you were doing things before?
Charles Forsman: I stopped the subscriptions at the end of last year. I was feeling a bit burnt out at the time. It was a combination of my mental state and I was beginning to feel like I was just going through the motions with the monthly comics. So I put it on hold so I could crawl into my hole and get through my winter depression and decide what Oily would look like in the future. So, I am trying this bundle idea. I think I was inspired a bit by the humble bundle service. They do a pay-what-you-want bundle of video games. I thought it could work for Oily so I’m giving it a shot. Plus it satisfies a goal that the subscriptions had which is the simple idea of getting someone for Oily because they like a certain artist. But they will also be exposed to cartoonists they have not read before. I would love to do a pay-what-you-want but that just doesn’t work for physical comics so well.
Becky Cloonan is now accepting preorders for By Chance or Providence, a limited-edition hardcover collection of her acclaimed trilogy of minicomics Wolves, the Eisner Award-nominated The Mire and Demeter.
“These stories cast a hypnotic melancholy,” the description reads, “weaving their way through a medieval landscape of ancient curses and terrible truths that will haunt you long after you’ve set them down.” The cover illustration is lovely, but the details sound even better: a canvas hardcover with gold foil blocking on the spine and cover, with a bonus sketchbook and illustration section, wrapped in a dust jacket.
By Chance or Providence is priced at $20; the print run will be determined by the number of preorders received by March 21. Retailers are encouraged to visit the wholesale site.
If you’re looking for an unusual handcrafted gift, minicomics and original prints are a good way to go. Many of them are beautifully produced, with unusual printing effects such as risography and die cuts, and they contain stories you can’t find anywhere else. As a bonus, the minicomics creator you support today may turn out to be the art-comix superstar of tomorrow, and you’ll be able to say you were one of the first to recognize their genius.
Here are six up-and-coming creators who are offering some very attractive mini-comics, prints, and other goods. You can get a lot of these things on Amazon and other mass-merchant sites, but the links here are to the creators’ own stores so you can support them directly with your Cyber Monday dollars.
Sarah Becan: You might know Becan from her foodie webcomic I Think You’re Sauceome, which recorded not just the amazing meals Becan ate but her mixed feelings about food and her body image. It’s a thoughtful read as well as an entertaining one. Her food posters, on themes like Sausages of the World and How to Poach an Egg, would make a colorful addition to anyone’s kitchen decor. Becan is also the creator of Shuteye, a comic about dreams nested inside of dreams, and The Complete Ouija Interviews, a minicomic (supported by a Xeric grant) based on “interviews” done via a Ouija board. “Printed in rich brown inks, assembled in a beautiful little perfect-bound volume, with a debossed feltweave cover,” this 192-page volume is an amazing deal for $10.
Conventions | Although convention organizers rolled out an altered name — WonderCon Anaheim — and logo when they confirmed two weeks ago that the event will return to Anaheim, California, again next year, they insist they haven’t close the door on San Francisco. “We still want to get back to the Bay Area. [...] We are in touch with [the Moscone Center organizers] fairly regularly and we have an open dialogue,” says David Glanzer, director of marketing and public relations. “They haven’t given up on us, either.” The convention was uprooted from the Moscone Center in 2012 first because of remodeling and now because of scheduling conflicts. WonderCon Anaheim will be held April 18-20. [Publishers Weekly]
Digital comics | I spoke with Archie Comics Co-CEO Jon Goldwater and iVerse Media CEO Michael Murphey about the new “all-you-can-eat” digital service, Archie Unlimited. [Good E-Reader]
Hip Hop Family Tree by Ed Piskor, Fantagraphics Books, 120 pages, $24.99.
I enjoy both hip-hop and reading books about the history of music or nascent art forms in general, so this book fits right in my wheelhouse anyway, but, man, did I like this comic. I liked the way Piskor designed the book, making it look like one of those oversized Marvel or DC “Treasury” books from the 1970s, and even goes so far as to use newsprint-like paper and print the colors slightly off-register at times, all the better to evoke those lap-sized comics of yesteryear. I liked the way he juggles a huge cast of characters, jumping around from one to the next without losing or confusing the reader. I like how he employs some wonderful bits of cartoonish exaggeration (that, it should be noted, never devolves into ethnic stereotyping), so that Grandmaster Flash wears an impossibly large cap, Mellie Mel’s afro seems larger than his head at times, and Russell Simmons is a cross-eyed guy with a bad lisp. Piskor seems to know intuitively how to relate the best, most revealing and juiciest anecdotes without bogging the reader down in minutiae. I’ve enjoyed Piskor’s work in the past (most notably with his hacker book Wizzywig) but he’s never seemed quite as confident a storyteller as he does here. Can’t wait for volume two.
The Small Press Expo has announced the nominees for the 2013 Ignatz Awards, the festival prize named in honor of the brick-wielding mouse in George Herriman’s Krazy Kat comic strip.
Nominees are selected by a panel of five cartoonists — this year it was Lisa Hanawalt, Dustin Harbin, Damien Jay, Sakura Maku and Jason Shiga — and then voted on by SPX attendees. The winners will be announced Sept. 14 during a ceremony at the Bethesda, Maryland, convention. The nominees are:
- Lilli Carré, Heads or Tails
- Michael DeForge, Lose #4
- Miriam Katin, Letting It Go
- Ulli Lust, Today is the Last Day of the Rest of Your Life
- Patrick McEown, Hair Shirt
Mattel hopes it has the power to tamp down claims by writer Donald Glut that he has a copyright stake in the original Masters of the Universe minicomics packaged with the action-figure line three decades ago.
In a lawsuit filed Friday in federal court in Los Angeles, and first reported by Courthouse News Service, the toymaker seeks a declaration that it is the sole owner of the lucrative multimedia franchise, asserting that Glut’s four stories were work for hire. Mattel refers to the writer’s claims of ownership as “both baseless and stale,” insisting the statute of limitations long ago expired.
According to the complaint, Glut was commissioned in 1981 to write “He-Man and the Power Sword,” “The Vengeance of Skeletor,” “Battle in the Clouds” and “King of Castle Grayskull” and to create backstories for He-Man and other characters under the direction of the toymaker (“Mattel told Glut what the toys could do and directed him to have the characters in the minicomics do these things as much as possible,” the document states). The company notes the writer acknowledged as recently as 2001 that the minicomics were work for hire for which he received neither credit nor royalties.
Although I initially didn’t plan it this way, it’s appropriate that I’m running this interview with And The One Day creator Ryan Claytor on Father’s Day, as earlier this month Ryan and his wife Candace welcomed their first son, Owen Marshall Robert Claytor, into the world. Congratulations to the Claytor’s on their new addition!
No doubt Owen will one day be able to read about his birth from his father’s perspective, as Ryan has been chronicling parts of his life in a series of minicomics titled And The One Day. After almost a decade of self-publishing his comics, Ryan has turned to IndieGoGo to fund a collection of Autobiographical Conversations, the most recent story arc from And Then One Day. Autobiographical Conversations centers on a discussion between Professor Harry Polkinhorn, who teaches classes on the personal essay, and Ryan when he was a graduate student studying Comics and Fine Art. Their conversation is about autobiography, comics and the intersection of the two. His campaign ends on June 19, and he just announced a new stretch goal.
Roger Langridge, whose done some stellar work over the last few years on titles like Thor: The Mighty Avenger, Popeye, Snarked and The Muppets, has a new comic available for purchase online. Originally created as a minicomic that he sold at the 2-D Festival in Ireland, Langridge is now selling The Fez online himself for one pound. It is also coming to comiXology in the near future.
“I love minicomics. To me, they are the most perfect form of comics – comics in their most refined state,” he said on his blog. “They are a formal embodiment of comics’ most attractive feature: comics, unlike film or theatre or even music, require no collaboration, no real financial resources to make happen. One person can do it all. With minicomics, that person is not only producing the work, but more often than not printing, assembling and stapling the things as well. If comics are the people’s artform, minicomics are its most accessible manifestation.”
He goes on to wonder if a “digital comic” qualifies as a “minicomic.”
There’s a growing number of small-press publishers popping up these days, from Koyama Press to Oily Comics and beyond. No doubt that’s in large part due to the increasing number of indie-comics conventions like CAKE and SPX, the relative ease of selling your work online, more and more cartoonists trained in basic printing and business skills thanks to schools like the Center for Cartoon Studies, and perhaps even more affordable printing technologies. (I’m guessing at that last one. OK, I’m guessing at all of these.)
Whatever the reason, we are blessed (or, depending on your viewpoint, cursed) with a plethora of minicomics from new and up-and-coming cartoonists. Here then are some short-ish reviews of minis that came to my doorstep from two relatively new publishers: Yeti Press and Retrofit Comics.
Our Ever Improving Living Room by Kevin Budnik ($20): This is a chunky-sized collection of a series of four-panel journal comics Budnik did while attending college. It’s similar in style and presentation to James Kochalka’s American Elf, although Budnik portrays himself as being a bit more reserved and anxious than Kochalka. It seems like just about everyone and their cat is doing a diary comic of some form these days, and while I can appreciate how the daily rigamarole of that type of comic can improve one’s artistic and storytelling skill, there’s always a danger in discovering that the examined life turns out to be rather dull. While he’s not above highlighting the cute moment or indulging in some unnecessary naval-gazing, Budnik manages to avoid many of the pitfalls of his peers by possessing a self-effacing sense of humor and an appreciation for the minor victories and miseries of life. This is early work, and rough at times, but it shows a good deal of promise and I want to see what he does next.
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When she isn’t drawing comics like Batman or The True Lives of the Fabulous Killjoys, Becky Cloonan is self-publishing her own awesome minicomics like The Mire and Wolves. Her latest, Demeter, is now available for pre-order on WereHouse.ca, a site that also features work by Karl Kerschl and Andy Belanger.
Cloonan said she decided to move from her previous storefront at Big Cartel to the new site because of the response she’s received to her self-published comics.
I first came across Rina Ayuyang’s work with the arrival in 2010 of Whirlwind Wonderland, which collected her various minicomics in one slim book. Iwas quite taken with the warmth and good humor she displayed in detailing her life, family and relationships, and I dubbed it one of the most criminally ignored books of that year.
While she’s still putting out the occasional minicomic, Ayuyang has recently become a small-press publisher with her new imprint Yam Books. The company is off to an excellent start with its first book Ticket Stub, by Tim Hensley, which came out late last year. The book, which collects the off-kilter minicomics Hensley created while working at his former day job as a closed-caption editor is a head-spinning series of dada-esque riffs on popular movies.
Curious about what sort of challenges Ayuyang might have encountered in making the transition from indie cartoonist to indie publisher, I asked whether she’d be up for answering some of my invasive questions. Thankfully, she was more than happy to do so.
Look, if we’re going to have Pi Day and Talk Like a Pirate Day and all sorts of other random holidays, we should have a day to celebrate minicomics, too, right? The folks at minicomics.org have declared March 24 the third annual Mini-Comics Day. It’s like 24 Hour Comics Day only… smaller?