Why The Russos Are The Best Thing to Happen to the MCU Since Joss Whedon
Legal | Japanese publisher Square Enix is voluntarily recalling all volumes Hi Score Girl and has suspended its digital distribution and sales following allegations the manga contains more than 100 unauthorized uses of characters owned by the game company SNK Playmore. However, the series will still continue to run in the monthly Big Gangan magazine, and a Square Enix spokesperson said the publisher isn’t admitting to the allegations. The publisher sent mixed signals on whether the anime adaptation in development will continue as planned. The manga also contains characters from games produced by CAPCOM, Sega and Bandai Namco, all of whom confirmed to IT Media that they had granted permission. [Anime News Network]
Conventions | As comics conventions continue to become an international phenomenon, ReedPOP bags a big one: The company behind New York Comic Con, C2E2, Star Wars Celebration and Penny Arcade Expo has announced a partnership with Oz Comic-Con, which runs several conventions in different locations in Australia. [press release]
Passings | Paul Burgarino reports on Sunday’s memorial service for Wee Pals cartoonist Morrie Turner, who died last month at the age of 90. Wee Pals was the first comic strip by a black creator to get a national syndication deal, and speakers remembered him as both a pioneer and an inspiration. “Through your unique artistry and personal kindness, you’ve helped show the world what we can be, should be and must be,” said David Shaffer, the son of one of Turner’s close friends. [Contra Costa Times]
Tokyopop has come back to life, sort of: The manga publisher unveiled its revamped website a few days ago, and the company is once again selling books, in partnership with Right Stuf (for print) and Graphicly (for digital). The only Japanese manga available on the new site is Hetalia; Tokyopop’s licenses for other series lapsed, and most of them probably aren’t coming back, although CEO Stu Levy dangled the possibility of some new licenses in a panel last week at Anime LA. What’s left is a good-sized collection of Tokyopop’s Original English Language (OEL) manga and a few graphic-novel imports from countries other than Japan.
Although Tokyopop’s OEL line earned a fair amount of derision at the time, many of the books were actually pretty solid. In addition, they provided paying work for many young and veteran artists. Here’s a look at six that are of interest either because of the creators or because they are so strong (or both).
East Coast Rising: Becky Cloonan’s first full-length graphic novel, this urban-pirate story earned a nomination for Best New Series in the 2007 Eisner Awards. Alas, there was never a second volume.
Publishing | The 65th volume of Eiichiro Oda’s pirate manga One Piece has sold more than 3 million copies in Japan in less than two months, beating the two previous volumes to that goal. No other manga has sold that many copies so quickly since the market research firm Oricon began releasing sales figures in April 2008. [Anime News Network]
Comic strips | After 33 years on the comics page, Nicole Hollander’s Sylvia is hanging up her cigarette and typewriter and calling it a day. Hollander is upfront about the reason: “After the Chicago Tribune dropped Sylvia, my income was cut by half and Sylvia disappeared from my hometown. I felt the loss.” She will continue to post vintage Sylvia strips on her blog. [Bad Girl Chats]
There was a time, back in the mid-2000’s, when Tokyopop was a bubbling cauldron of talent. With its Rising Stars of Manga competition and global manga program, Tokyopop was a gateway into comics for many talented newcomers, and many of them continue to work in the industry, creating and editing manga and other types of comics. Tokyopop shut down its OEL (Original English Language) manga program and laid off much of its staff in June 2008. Some of the creators continued to work on Tokyopop’s licensed books, while others moved on to new endeavors, including BOOM! Studios’ Pixar comics and Archaia’s Fraggle Rock anthologies.
The news that Tokyopop will be shutting its doors on May 31 inspired many creators to post their thoughts about the Tokyopop experience, and we reached out to some others for their own memories.
Former editor Tim Beedle, who was on staff at the time, looked back with mixed feelings:
There were certainly times where working at Tokyopop could be a frustrating experience. Like most of the editorial team, I came to Tokyopop because I had a genuine interest in comics and manga and wanted to play a role in bringing some great titles to American graphic novel fans, whether they were licensed from Japan or produced in the United States. And I think we did just that while we were there. I’m proud of just about all of the titles I worked on, especially the OEL ones. However, as time went on, the company’s interests and priorities seemed to shift. All of a sudden, we weren’t simply manga editors—we were film developers, magazine contributors, social media website operators and reality TV producers. All of which are worthwhile career pursuits, but what’s wrong with being editors? I think Tokyopop was at its best when its focus remained on publishing, and for all the time I was there, that’s what I focused on.
The first 3-4 pages of the story was originally one of those “true stories” you read in magazines, where people write in about their “spooky experiences”. It seems that a fair amount of spooky experiences happen to firemen late at night. I’m guessing that among firemen who deal with people supposedly trapped in elevators, this one is a bit of an urban legend. The rest of it, however, is completely made up by me.