Rob Salkowitz Archives - Robot 6 @ Comic Book Resources
Business | Marvel parent company Disney has reportedly laid off as many as 17 of the 60 full-time employees at DisneyToon Studio, the Glendale, California-based division that produces animated direct-to-video sequels and prequels, such as The Lion King 1 1/2 and Mulan II, the Disney Fairies releases and the occasional feature film, most recently Planes: Fire & Rescue. While Disney has been cutting positions throughout the company for the past few years — dating back to 2011 with the elimination of 200 jobs in its interactive division and about a dozen at Marvel — Variety chalks up these layoffs to the declining home-video market. [Variety, Deadline]
Passings | Dan Lynch, former editorial cartoonist for the Fort Wayne Journal Gazette, died Sunday at age 67. Lynch also worked for the Kansas City Times, and his cartoons were syndicated nationally and appeared in Time and Newsweek. However, his career was cut short by a debilitating stroke in 2001. “Dan had (what I thought was) a fabulous drawing style,” said Julie Inskeep, publisher and president of The Journal Gazette. “And, in the 20-plus years he worked at the JG, he provided a vast array of cartoon topics – always welcome, though not always in agreement with our editorial board. But he got people to think and react in his special and powerful way.” [Fort Wayne Journal Gazette]
Passings | Jay Maeder, who was the last writer for the comic strip Annie (formerly Little Orphan Annie), passed away Tuesday at age 67. A former New York Daily News columnist and editor who authored Dick Tracy: The Official Biography and contributed to The Encyclopedia of American Comics, Maeder worked on Annie, together with artist Andrew Pepoy, from 2000 its cancellation 2010. He created Amelia Santiago, a pilot and CIA agent, and once said of the strip, “I tell people it’s Indiana Jones with chicks.” [The New York Times]
Manga | Deb Aoki rounds up the manga news from Comic-Con International, including UDON’s license of Kill la Kill and Drawn and Quarterly’s plans to publish Shigeru Mizuki’s biography of Hitler. [Publishers Weekly]
Publishing | Spurred by the GoFundMe campaign launched last week by Dan Vado to get SLG Publishing “back on its feet,” Comic-Con and the Business of Pop Culture author Rob Salkowitz wonders whether a nonprofit model might make sense for some indie/niche publishers: “Contrary to popular perception, however, being a non-profit doesn’t mean you can’t make money. Lots of successful non-profits generate revenues in the millions and pay their staff, executives and contributors salaries comparable with those in the private sector. They can also pay contractors and contributors like performers or creators full market rates. They just don’t pay shareholders, and they plow any excess revenues back into their operations.” [ICv2.com]
Comics | Tammy Oler considers the roles of Captain Marvel and Ms. Marvel within a growing movement to make superhero comics more diverse: “The devoted fans in the Carol Corps and Kamala Korps view themselves as part of a movement for a bigger and more diverse comic book universe, and it seems like publishers might finally be starting to pay attention. Both Ms. Marvel and the rebooted Captain Marvel are part of Marvel NOW!, an effort by the publisher to attract new readers by providing a lot of accessible places for new readers to jump on board with ongoing series. (DC Comics has done something similar with its New 52 initiative.) Marvel and DC have also taken some steps to address their lack of superhero diversity, in part by launching some new female solo titles, including Black Widow, She-Hulk, and Elektra. Of course, there’s a whole world of mainstream and indie publishers beyond Marvel and DC, but the big two still matter the most because they create the pantheon of superheroes that make it into movie theatres and onto the racks of Halloween costumes at Target.” [Slate.com]
Conventions | Rob Salkowitz, who wrote a book about Comic-Con International, looks forward to this weekend’s sold-out Emerald City Comicon, and explains why it represents the convention of the future: “One reason ECCC is such an ideal place to talk about the future of comics is because the show itself looks like the future of comics–at least the one that I call ‘The Expanding Multiverse.’ Supportive of creators and celebrities alike, embracing the broadest conception of styles and subjects from indie work to mainstream superheroes, self-consciously diverse and inclusive in its conception of fandom, ECCC and shows like it represent a sustainable path forward for geek culture in an age of super-saturation and sensory overload.” Salkowitz will be a participant, not just a fan: He has developed a programming track on comics and digital culture that will feature a number of people (IDW’s Ted Adams, Monkeybrain’s Alison Baker) giving short presentations, similar to the format and spirit of TED Talks. [ICv2]
Creators | Newsday picks up the story of Al Plastino’s original art for the John F. Kennedy comic that was canceled when the president was assassinated, and then published a few months later at the request of the Johnson administration. Plastino, now 91, had been told the artwork would be donated to the Kennedy Library, but last month at New York Comic Con he learned that a private individual had the art and was planning to sell it through Heritage Auctions, which now says it won’t move forward until the ownership question is resolved. Copyright lawyer Dale Cendall, former DC Comics President Paul Levitz and artist Neal Adams weigh in on the case. [Newsday]
Kickstarter | In the wake of the successful Fantagraphics Kickstarter campaign, Rob Salkowitz looks at the evolution of the crowdfunding platform from a way for individual creators to connect with their audiences to a pre-sale mechanism that eliminates a lot of the risk for smaller publishers. [ICv2]
Stage | Dancer Daniel Curry, who was seriously injured during an Aug. 15 performance of the Broadway musical Spider-Man: Turn Off the Dark, made his first appearance since the accident at a benefit concert held Monday that raised $10,000 for his medical bills. Curry was injured when his leg was pinned by an automated trap door — he blames malfunctioning equipment, producers say it was human error — resulting in fractured legs and a fractured foot; he has undergone surgeries and unspecified amputations. The Occupational Safety and Health Administration and Actors’ Equity have launched investigations into the accident, and Curry’s lawyers are exploring a possible lawsuit against the $75 million show and the equipment suppliers.
During previews of Spider-Man: Turn Off the Dark — before the March 2011 firing of director Julie Taymor and the sweeping overhaul that followed — no fewer than five performers were injured, the most serious previously being aerialist Christopher Tierney, who fell about 30 feet in December 2010, breaking four ribs and fracturing three vertebrae. He returned to rehearsals four months later. There have been no major accidents since the show opened in June 2011. [The New York Times]
Publishing | Lions Forge Comics announced a partnership this morning with NBC Universal to create digital comics based on five television series from the 1980s and 1990s: Knight Rider, Airwolf, Miami Vice, Punky Brewster and Saved by the Bell. The comics will be released on a variety of e-book platforms, including Kindle, Nook and Kobo, but there was no mention of comics apps such as comiXology. [USA Today]
Publishing | Denis Kitchen’s Kitchen Sink, long a packager whose comics were published by others, will now be an imprint of Dark Horse, releasing four to six books a year. The imprint will include art books, reprints of archival material, and new graphic novels; it will kick off with The Best of Comix Book: When Marvel Went Underground!, a collection of works from the Marvel magazine, which was edited by Kitchen and Stan Lee. [ICv2]
Publishing | As part of its coverage of the Consumer Electronics Show in Las Vegas, Variety spotlights DC Entertainment’s digital moves, particularly its “Digital First” initiative, with titles like Smallville, Arrow and Batman: Arkham Unhinged, and the increase in sales since the company began going day-and-date with its comic books in September 2011. “What we launched last year as an experiment, we’ll increase the frequency now because it’s gotten so popular,” Hank Kanalz, senior vice president of Vertigo and Integrated Publishing, says of Digital First. [Variety]
Retailing | Halifax, Nova Scotia, comics retailer Calum Johnston is looking for a new location for Strange Adventures, as the current location is being redeveloped and the rent will go up as a result. Johnston would rather pay for more staff than pay a higher rent: “When people come in looking for a major title like the death of Peter Parker in Marvel Comics’ The Amazing Spider-Man, they inevitably have questions about other titles. It is important to have staff available to keep customers up to date on new developments and titles.” [The Chronicle Herald]
Digital comics | Rob Salkowitz, who’s making the rounds to promote his new book Comic-Con and the Business of Pop Culture, has the best summary yet of the digital comics phenomenon: “Digital doesn’t cannibalize the industry; it grows it by encouraging fandom.” (Robot 6 contributor J. Caleb Mozzocco reviewed Salkowitz’s book this week.) [Flip the Media]
Creators | Christos Gage may have created a new genre, “geezer noir,” with his graphic novel Sunset, the tale of an old soldier and former hitman who sets off after his old boss when he fears his ex-wife and child are in peril: “‘He’s got this craggy face and you see his life written in the lines of his face, and black and white makes that so much more powerful,’ the writer says. He credits artist Jorge Lucas for giving him all the facial expressions that stand in for a lot of talking: ‘He was never going to have interior monologues. I don’t think he overanalyzes what he does all that much.'” [USA Today]
Early August might seem like a strange time to be thinking overmuch about Comic-Con International, which just wrapped up a few weeks ago. I can’t speak for the rest of the industry, of course, but I know I’m still exhausted from this year’s convention — and I didn’t even attend. Just trying to keep up with all the news via Internet was enough to burn me out.
But Rob Salkowitz’s new book Comic-Con and the Business of Pop Culture: What the World’s Wildest Trade Show Can Tell Us About the Future of Entertainment is well worth reading and thinking about — either casually or overmuch — given its up-to-the-minute survey of the comics landscape, and the fairly engaging, accessible way in which he discusses the pressing issues affecting just about everyone involved in it.
Despite the title, Comic-Con isn’t the subject matter of the book so much as the framing device Salkowitz uses to talk about comics. A regular attendee with some decent connections — he and his wife Eunice are friends with Batton Lash and Jackie Estrada, and they volunteer at the Eisners each year — Salkowitz discusses the history of the convention and the important place it occupies in today’s entertainment world (referring to it, at one point, as the “Iowa caucus for comics and genre movies”), but it essentially functions as a conceit for a business book.
Comics | With the release today of Marvel’s heavily publicized Astonishing X-Men #51, which features the wedding of Northstar and Kyle, writer Marjorie Liu and associate editor Daniel Ketchum reiterate that “their story is just beginning.” When asked whether he’d be interested in a Northstar solo series, Ketchum replied, “Is that even a question? I can have a pitch ready by the end of the day. Spoiler alert: Storm and Dazzler will be recurring guest stars.” The New York Times, meanwhile, spotlights Ohio couple Scott Everhart and Jason Welker, who were set to be married this morning in a ceremony at Midtown Comics in Manhattan. Unlike Northstar and Kyle, however, Scott and Jason can’t count Mayor Michael Bloomberg among their wedding guests. [The Advocate]
Publishing | Todd Allen turns an analytical eye on Marvel’s twice-a-month releases as well as the cover prices of the publisher’s comics. Overall, prices are down a bit and frequency is up, but Allen isn’t sure if that’s an actual trend. [The Beat]