5 Elements of the Pre-New 52 DC Universe We Really, Really Miss
Awards | The Center for Children’s Books at the University of Illinois has chosen Ben Hatke’s Little Robot as the winner of this year’s Gryphon Award for Children’s Literature. The award honors children’s books that bridge the gap between being read to and reading on one’s own. “Hatke’s graphic novel is both cleverly crafted and utterly irresistible,” said Assistant Professor Deborah Stevenson, the head of CCB and chair of the committee. “Our young heroine is an admirable adventurer and capable wielder of a tool belt, and the little robot she finds, repairs, and befriends is an endearing pet/sidekick. The balance between wordless sequences and simple speech-balloon dialogue (plus the robot’s sound effects) will reassure tentative readers and encourage them to decode narrative from both visual and textual clues.” [University of Illinois]
Retailing | Kansas City retailer B-Bop Comics is offering a complete collection of Marvel comics, from Fantastic Four #1 (published in 1961) through all books published in 2015, for $200,000. The set, which doesn’t include any comics from Marvel predecessors Atlas and Timely, was put together by a collector who bought most of the comics as they were released. B-Bop is offering them as a complete set until next month; if they don’t sell in that format, the retailer will offer them individually, which will probably bring in more money. The set includes between 32,000 and 34,000 comics, housed in 106 longboxes, plus some boxes of books of various sizes. [ICv2]
Auctions | Rob Salkowitz looks at the recent sale at auction of Neal Adams’ original cover art for Green Lantern/Green Arrow #76 for an impressive, although not record-setting, $442,150. He notes that the significance of the issue, and the endorsement of the sale by Adams, likely had an effect on the price. In 1970, most publishers didn’t routinely return original art to artist, and Adams has been critical of the sale of artwork that was simply taken, and sometimes given away, by staffers or editors. In this case, however, he announced through the auction house that “since the proprietor of the cover has agreed to equitably share the income of the auction with me and my family, I hereby validate sale and ownership of this piece and I will, in fact, supply a Certificate of Authenticity to the highest bidder of the auction, and the ownership of this cover will never be questioned by me.” A portion of the proceeds was also donated to The Hero Initiative. [ICv2]
Passings | Underground comics writer Dennis Eichhorn passed away on Oct. 8 at age 70. He’s best known for his autobiographical comic series Real Stuff, which often involved tales of alcohol, sex and drugs. Published from 1990 to 1995 by Fantagraphics, the multiple Eisner-nominated Real Stuff was illustrated by the likes of Lynda Barry, Chester Brown, Peter Kuper, Joe Sacco, Roberta Gregory and Ed Brubaker. [The Stranger]
Legal | Iranian cartoonist Atena Farghadani, already serving a 12-year sentence for a cartoon depicting members of the Iranian parliament with animal heads, and under investigation for shaking hands with her male lawyer, had to endure yet another indignity in August: She was forced to undergo a “forced virginity and pregnancy test” as part of the investigation of the latter charge. “In doing so, the Iranian judicial authorities have truly reached an outrageous low, seeking to exploit the stigma attached to sexual and gender-based violence in order to intimidate, punish or harass her,” said Said Boumedouha of Amnesty International, which is calling for her release. [Amnesty International]
Museums | The Lucas Museum of Narrative Art, founded by George Lucas and slated to open in 2018 in Chicago, has acquired the original art from Robert Crumb’s The Book of Genesis. [The Art Paper]
Editorial cartoons | R.C. Harvey writes the definitive piece on the Ted Rall case, rounding up pretty much everything that’s been written in the aftermath of the Los Angeles Times’ decision to cut ties with the cartoonist. In addition to presenting the evidence and all points of view, Harvey sheds a harsh light on the paper’s public statements about Rall and the relationship between the newspaper and the Los Angeles police union. [The Comics Journal]
Awards | Noelle Stevenson’s fantasy comic Nimona has made the longlist for the National Book Awards in the Young People’s Literature category. It’s rare but not unprecedented for a graphic novel to be nominated for a National Book Award: Gene Luen Yang’s American Born Chinese was the first, and his Boxers and Saints made the 2013 longlist. One of the creators of Lumberjanes, Stevenson launched Nimona in 2012 as a webcomic; the print edition was published in May by HarperCollins. [The New Yorker]
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]
Creators | Jim Toomey sets his comic strip Sherman’s Lagoon under the sea, and now he’s going to get a close-up look at underwater life: As the artist in residence on Alvin, a Navy deep-sea submersible vehicle, he will get an up-close look at undersea life in the Gulf of Mexico. “Only three people are able to go down on the sub at a time, so it’s a very coveted opportunity,” said Toomey, who will talk to his children’s class from aboard the submersible and has set the current Sherman’s Lagoon story in the Gulf so he can introduce the sea creatures he is seeing firsthand. [The Washington Post]
Before he became well known as the writer and illustrator of charming children’s books, Dr. Seuss (aka Theodor Seuss Geisel) had another gig: He drew political cartoons. In fact, in the run-up to World War II, Seuss drew some fairly pointed cartoons accusing those who wanted to stay out of the war of being manipulated by the Nazis.
Alas, one stash of these cartoons is being kept firmly out of the public eye, as reporter Bill Sloat reveals in a fine piece in the Cincinnati City Paper: The Cincinnati Art Museum has five of Seuss’ political cartoons, all drawn for the left-leaning newspaper PM between 1939 and 1941, but they aren’t on exhibit, and the museum has no plans to put them on public display:
Efforts that started back in 2010 to put Snoopy on license plates in California have hit a milestone — the special plates, featuring artwork by Charles Schulz, are now available for order. And once 7,500 have been ordered, the Department of Motor Vehicles will begin production.
The proceeds from the official Snoopy license plate will go toward a grant program administered by the California Cultural and Historical Endowment to support California’s museums. The plates cost $50 for for a sequential plate or $98 for a personalized plate, with a portion of the higher fee also supporting programs to protect California’s environment. If 7,500 plates aren’t ordered in the first year (Rats!), you’ll have the option to try again next year or have your money refunded.
If you live in California and want to help Snoopy hit the road, you can order your plate here.
While in Baltimore to attend Baltimore Comic-Con 2013, while I had some pre-con free time on Friday, I decided to visit the pop culture museum, Geppi’s Entertainment Museum. The museum, which is just down the street from the Baltimore Convention Center at Camden Station (across from Camden Yards), is owned by Diamond Comics Distributors President/CEO Steve Geppi. A majority of the museum’s holdings are from Geppi’s private collection.
In recognition of the con this weekend, admission is half off for all Baltimore Comic Con 2013 attendees on September 7-8, 2013. What follows is a series of photos I took while visiting. The collection is vast and varied–and my cell phone camera photos do not do the 16,000-square-foot pop culture museum justice.
Conventions | The Brooklyn Comics and Graphics Festival has come to an end, after establishing itself in just four short years as one of the most loved indie-comics events. A message posted on the event’s blog under the headline “Thank You and Good Night” reads simply, “We have decided not to continue with BCGF. We had a great run and thank all of our colleagues for their support.” [The Beat]
Creators | Garry Trudeau talks about Doonesbury, supporting wounded warriors, and his Alpha House show in a video interview with CNN’s Jake Tapper. [The Daily Cartoonist]
Creators | Michael Aushenker profiles Rutu Modan, whose The Property, a tale of a Jewish woman returning to Poland to reclaim an apartment lost during the Holocaust, debuted at Toronto Comic Arts Festival: “When I go to vote, I have to decide who is bad and who is a good guy, but when I write I can support the Poles and the Jews. I’m much more interested in the gray areas. They’re more closer to reality.” [The Jewish Journal of Los Angeles]
Awards | Slate Book Review and the Center for Cartoon Studies have awarded the Cartoonist Studio Prize for Best Graphic Novel of 2012 to Chris Ware for Building Stories, and the prize for Best Web Comic to Noelle Stevenson for Nimona. Each winner receives $1,000. [Salon.com]
Comics | Tom Spurgeon talks at length to Gary Groth, co-founder of Fantagraphics and editor-in-chief of The Comics Journal, about the prospects for young creators today versus years ago, changes at The Comics Journal, and Groth’s own interview with Maurice Sendak, which runs in the latest issue of TCJ. [The Comics Reporter]
Museums | So what is the deal with the move of the Museum of Comic and Cartoon Art to the Society of Illustrators? They are being “transferred and acquired,” says MoCCA President Ellen Abramowitz, although the headline on this article says “rescued.” “After the transition, the Society of Illustrators will go on to be the sole overseer and manager of the holdings. ‘It’s in excellent hands,’ said Ms. Abramowitz.” [The Wall Street Journal]
Passings | Steve Roper and Mike Nomad artist Fran Matera has died at the age of 88. Matera, who worked briefly in the Quality Comics bullpen, where he worked on Doll Man and other titles, before enlisting in the Marines during World War II, also drew such comic strips as Dickie Dare, The Legend of Bruce Lee and Nero Wolfe. His comic credits also include the “Chuck White and Friends” feature in Treasure Chest, and issues of Marvel’s Incredible Hulk and Tarzan. [Rip Jagger’s Dojo]
Publishing | Dark Horse manga editor Carl Gustav Horn takes the long view and refuses to give pat answers to questions about trends and hot properties: “This August, the longest-running manga in the North American market, Kosuke Fujishima’s Oh My Goddess!, turns eighteen. We started OMG! during the era of manga marketed as comic books, continued it into the era of manga marketed as graphic novels, and transitioned into the era of manga marketed as tankobon (Japanese-style GNs). Now we’re moving ahead into the era of manga marketed for e-reading.” [ICv2]