Rob Salkowitz Archives - Robot 6 @ Comic Book Resources

Comics A.M. | Archie artist Tom Moore passes away

Tom Moore

Tom Moore

Passings | Archie Comics artist Tom Moore died yesterday at the age of 86. Moore got his start as an artist in the Navy, where he served during the Korean War: His captain found a caricature that Moore had drawn, and instead of calling him on the carpet, he assigned him to be staff cartoonist. Moore’s comic strip, Chick Call, ran in military publications, and after the war he studied cartooning in New York, with help from the GI Bill. Moore signed on with Archie Comics, drawing one comic book a month, from 1953 until 1961, when he left cartooning for public relations. “It’s important to create characters that can adapt to anything, but whose personalities are consistent,” Moore said in a 2008 interview. “Establish that, and don’t deviate. Betty doesn’t act like Veronica, and Charlie Brown doesn’t act like Lucy.” He returned to cartooning in 1970, drawing Snuffy Smith, Underdog, and Mighty Mouse, and then went back to Archie to help reboot Jughead, staying on until his retirement in the late 1980s. After retiring, Moore taught at El Paso Community College and was a regular customer at All Star Comics. [El Paso Times]

Publishing | DC co-publishers Jim Lee and Dan DiDio talk about the comics market as a whole, variant covers, and their move to Burbank, among many other topics, in a three-part interview. [ICv2]

Commentary | Christopher Butcher discusses the way the comics audience has diversified, and the way that parts of the industry (the parts that aren’t involved, basically) have refused to acknowledge the enormous popularity of newer categories of comics by “othering” them: “‘Manga aren’t comics,’ went the discussion. They were, and are in many ways, treated as something else. The success that they had, the massive success that they continue to have, doesn’t ‘count’. All those sales and new readers were just ‘a fad’, and not worthy of interest, respect, or comparison to real comics. It was the one thing that superhero-buying-snobs and art-comics-touting-snobs could agree on (with the exception of Dirk Deppey at TCJ, bless him): This shit just isn’t comics, real comics, therefore we don’t have to engage it.” Butcher sees these attitudes changing at last, though, thanks to the massive commercial and critical success of books like Raina Telgemeier’s Smile (three years on the New York Times graphic novel best-seller list!) and Mariko and Jillian Tamaki’s This One Summer. [Comics212]

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Comics A.M. | ‘Naruto’ spinoff manga to end next week

From "Weekly Shonen Jump"

From “Weekly Shonen Jump”

Manga | The Naruto spinoff Naruto: The Seventh Hokage and the Scarlet Spring, which is running simultaneously in the Japanese and American versions of Shonen Jump, will end in the July 6 issue. [Anime News Network]

Fandom | Rob Salkowitz presents results of a recent survey of convention-goers conducted by the online ticket platform Eventbrite. Interestingly, they found almost complete gender parity (48.9 percent female, 48.7 percent male, and 3.1 percent non-binary/other) among convention-goers in general but much bigger skews in individual categories: “Comics, toys and gaming are predominantly male, while media, anime/manga and sci-fi/fantasy fandom are predominantly female.” A typical con-goer spends between $100 an $500, with comics fans being the biggest spenders and prints and original art the most popular thing to buy. There’s a lot more detail in the article about what people like and don’t like (biggest beef: lack of wi-fi an connectivity in convention centers). The survey updates and expands on a similar survey conducted last year. [ICv2]

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Comics A.M. | Adam Zyglis wins Pulitzer for editorial cartooning

From Adam Zyglis' winning portfolio

From Adam Zyglis’ winning portfolio

Awards | The Buffalo News editorial cartoonist Adam Zyglis is the winner of the 2015 Pulitzer Prize in Editorial Cartooning, fulfilling a mandate given to him on the day he was hired, when his editor said, “Welcome aboard. Now go win us a Pulitzer.” [The Buffalo News]

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Comics A.M. | What does the future hold for conventions?

Emerald City Comicon

Emerald City Comicon

Conventions | Rob Salkowitz, author of Comic-Con and the Business of Pop Culture, gazes into his crystal ball and predicts some new wrinkles to the convention scene this year, including more sophisticated use of technology: “New innovations such as beacons and near-field communications now enable real-time integration between digital content and the event itself in real time. In English, this means attendees can get instant notifications of nearby items that fit their specific interests, which could help navigate confusing and noisy exhibit halls.” And they could be used for real-time gaming as well. [ICv2]

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Comics A.M. | ‘Attack on Titan’ drives manga sales turnaround

Attack on Titan, Vol. 13

Attack on Titan, Vol. 13

Publishing | Early analysis of 2014 manga sales shows that the category has appeared to turn around, with sales increasing last year, driven by the Attack on Titan juggernaut. [ICv2]

Publishing | Black Mask Studios, which started as the publisher of Occupy Comics and now publishes a number of series in different styles and genres, launched a YouTube channel this week as an outlet for its animation and motion-comics projects. [The New York Times]

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Comics A.M. | Nostalgia, franchises and the new comics economy

Howard the Duck

Howard the Duck

Analysis | Rob Salkowitz kicks off the new year with big-picture questions about “geek culture”: With the popularity of comics-based movies, will continuity and nostalgia become less important? And will comics themselves become less important? “Putting out comics is a relatively costly and troublesome process with limited revenue potential relative to other ways of exploiting the intellectual property. A fan base that buys licensed merchandise and watches entertainment programming without needing a monthly fix of new art and story is probably considered a feature of the new comics economy, not a bug.” [ICv2]

Creators | Chew artist Rob Guillory, who will appear this weekend at Wizard World New Orleans, talks about the strange comics that he read as a kid (The Adventures of Kool-Aid Man) and the unexpected success of Chew, which will end next year with its 60th issue: “In the beginning, John and I were kind of like, ‘Well, best-case scenario, we can go 60 issues. Worst-case scenario, we can do five and go our separate ways and never speak again.’ I don’t know if we’ve seen the peak of our reception. I don’t think we’ll see how popular we’ve been until it’s over. When it’s wrapped and it’s the complete thing, I think people will start missing us.” [Best of New Orleans]

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Comics A.M. | Furry convention disrupted by chlorine gas

Midwest FurFest

Midwest FurFest

Crime | Nineteen people were sent to hospitals early Sunday following what appears to have been the intentional release of chlorine gas at the Hyatt Regency in Rosemont, Illinois, host of the Midwest FurFest furry convention. The incident began shortly after midnight, when firefighters and hazmat crews responded to a complaint of a noxious odor on the ninth floor of the hotel, where they found high levels of chlorine gas. Guests were evacuated, with many sent to the nearby Donald E. Stephens Convention Center. Hazmat technicians found what they suspect to be powdered chlorine in a stairwell at the ninth floor. The Rosemont police are treating the event as a crime, as it appears the gas release was intentional. The hotel was decontaminated and the attendees were allowed to return around 4:20 a.m. Midwest FurFest, which with nearly 4,000 attendees in 2013 claims to be the second-largest furry convention in the world, issued a statement about the incident. [Chicago Tribune]

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Comics A.M. | ‘The 99′ creator on death threats, political pressure

The 99

The 99

Creators | In a new profile of Naif Al-Mutawa, the creator of the Islamic superhero comic The 99 addresses the death threats made against him by ISIS and the fatwa issued against the animated adaptation in Saudi Arabia, and reveals he recently met with Kuwaiti police “to answer the charges of being a heretic.” Mutawa also blames pressure from “a handful of conservative bloggers” in the United States for The Hub not following through with plans to air the animated series. He said that after President Obama praised his work in 2010, attacks on him escalated in the United States, where he was painted as a jihadist “intent on radicalizing young kids to make them suicide bombers. And here [in the Gulf] I became an apostate Zionist. My mother told me growing up, be careful who your friends are because you end up inheriting their enemies. And that’s what happened: I don’t know President Obama. I’m very honored he called me out. But the hate became magnified after that.” [Al-Monitor]

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Comics A.M. | Turkish cartoonist speaks out about prosecution

Musa Kart

Musa Kart

Political cartoons | Turkish cartoonist Musa Kart, who was acquitted last month on charges of insulting President Recep Tayyip Erdogan, speaks out: “It’s a well known fact that Erdogan is trying to repress and isolate the opponents by reshaping the laws and the judiciary and by countless prosecutions and libel suits against journalists.” Kart faced a possible penalty of nine years in prison if he had been found guilty, and it’s not clear the case is over yet, as Erdogan could appeal the acquittal.“Unfortunately, day by day, life is getting harder for independent and objective journalists in Turkey,” Kart said. [Index on Censorship]

Political cartoons | Syrian Kurdish cartoonist Dijwar Ibrahim talks about his anti-ISIS cartoons, which are on exhibit in Iraq. [Al-Shorfa]

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Comics A.M. | Disney layoffs hit DisneyToon Studios

Planes: Fire & Rescue

Planes: Fire & Rescue

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]

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Comics A.M. | ‘Annie’ writer Jay Maeder passes away

Jay Maeder

Jay Maeder

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]

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Comics A.M. | A nonprofit alternative for some publishers?

SLG Publishing

SLG Publishing

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]

Passings | Michael Cavna rounds up tributes and remembrances from the colleagues of the editorial cartoonist Etta Hulme, who died last week at age 90. [Comic Riffs]

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Comics A.M. | Carol, Kamala and a changing superhero landscape

Captain Marvel

Captain Marvel

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]

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Comics A.M. | Emerald City, and the future of ‘geek culture’

Emerald City Comicon

Emerald City Comicon

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]

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Comics A.M. | More on JFK comic art that surfaced at auction

From "Superman’s Mission for President Kennedy”

From “Superman’s Mission for President Kennedy”

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]

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