Scott McCloud Archives - Robot 6 @ Comic Book Resources
Legal | The Japanese publisher Square Enix has filed a counterclaim against SNK Playmore, asking Osaka District Court to rule that its manga Hi Score Girl doesn’t infringe on copyrights held by the video game company. Earlier this year, SNK brought criminal copyright violation charges against Square Enix after learning Hi Score Girl contains more than 100 unauthorized images of characters from SNK Playmore games. The manga has been put on hold because of the dispute. [Anime News Network]
Conventions | Who’s buying, and how much are they spending, at conventions? Rob Salkowitz mines the numbers from a recent Eventbrite poll of convention-goers to get some answers: Most people spend between $100 and $500 per person; cosplayers actually spend a bit more than average; and women shell out more money at conventions, while men spend more online. [ICv2]
THE DARE: To create a complete 24 page comic book in 24 continuous hours.
That means everything: Story, finished art, lettering, color (if applicable), paste-up, everything. Once pen hits paper, the clock starts ticking. 24 hours later, the pen lifts off the paper, never to descend again. Even proofreading has to occur in the 24 hour period. (Computer-generated comics are fine of course, same principles apply).
No sketches, designs, plot summaries or any other kind of direct preparation can precede the 24 hour period. Indirect preparation such as assembling tools, reference materials, food, music etc. is fine.
The 24 hours are continuous. You can take a nap, but the clock keeps ticking. If you get to 24 hours and you’re not done, either end it there (“the Gaiman Variation”) or keep going until you’re done (“the Eastman Variation”). I consider both of these “Noble Failure” Variants and true 24 hour comics in spirit; but you must sincerely intend to do the 24 pages in 24 hours at the outset.
It was Nat Gertler who turned the dare into an event: As he told ROBOT 6’s Tim O’Shea earlier this year, on the 10th anniversary, it started as a way to drum up publicity for an anthology of 24-hour comics he was publishing, and it snowballed from there. Now it is organized by the retailer group ComicsPRO, and participants are invited to send their 24-hour comics to the the national 24-Hour Comics Day archive at the Billy Ireland Cartoon Library and Museum at Ohio State University.
This year’s pairing of Banned Books Week and comics, with considerable input from the Comic Book Legal Defense Fund, was pure genius. While it is sponsored by a number of organizations, Banned Books Week is heavily supported by libraries, and librarians have been among the most ardent boosters of graphic novels in the last ten years.
In fact, Banned Books Week is really all about libraries, and to a lesser extent, schools. The days of government censorship in the form of prohibiting publication, import, or sale of a book for offensive content are long gone. Nowadays, “banned books” really refers to books that someone wants to remove from a public library or a school. Often, those attempts are unsuccessful because the library in question has a solid acquisition policy and a process for handling challenges, which is how it should be. Libraries buy books for a reason, and they shouldn’t take them off the shelves without a better reason.
Many public library challenges have a similar narrative: Kid checks a book out of the library, mom finds the book and freaks out, mom goes to the library, or the press, and demands the book and all others like it be removed from circulation. When the proper process is followed, a committee of professionals reviews the book and makes a decision, and you and I seldom hear about it; it’s when someone goes to a public meeting and starts yelling and waving a book that things go haywire. That’s what happened in South Carolina, where the a mother let her daughter check out Alan Moore’s Neonomicon, which the library had correctly shelved as an adult book, then was shocked to discover it had sex in it. In this case, the library review committee recommended that the book remain on the shelves but the library director overruled them.
Banned Books Week | Michael Cavna talks with Jeff Smith, Scott McCloud and Neil Gaiman about the importance of Banned Books Week. Says Gaiman, “I get tired of when people say that no books are banned just because [you can get it elsewhere]. Say you’re a kid in a school district [that banned a book] and there’s not a local Barnes & Noble and you don’t have 20 or 50 bucks in disposable income … That book is gone. It was there and now it’s not. The fact you can buy it on Amazon doesn’t make that any less bad.” [Comic Riffs]
Banned Books Week | Charles Brownstein, executive director of the Comic Book Legal Defense Fund, discusses comics and censorship in a video interview. [Reason Magazine]
Comic strips | The art from cartoonist Bill Watterson’s surprise return to the comics page earlier this month for a three-day stint on Pearls Before Swine will be auctioned Aug. 8 on behalf of Team Cul de Sac, the charity founded by Chris Sparks to honor Cul de Sac creator Richard Thompson, who has Parkinson’s disease. The proceeds benefiting The Michael J. Fox Foundation for Parkinson’s Research. A painting by Watterson of one of Thompson’s characters sold in 2012 for $13,000 as part of a benefit auction for Team Cul de Sac. [Team Cul de Sac]
Creators | The tech news site Pando has fired cartoonist Ted Rall, just a month after hiring him, along with journalist David Sirota. While Rall wouldn’t comment on the reason for his dismissal, he did say the news came “really truly out of a clear blue sky. I literally never got anything but A++ reviews,” and he added that editor Paul Carr gave him complete editorial freedom. While Valleywag writer Nitasha Tiku speculates that the two had rubbed investors the wrong way, Carr disputes that, as well as other assertions in the article. Nonetheless, both Rall and Sirota confirmed they were let go. [Valleywag]
Thursday marks 10 years since the first 24 Hour Comics Day. In recognition of this milestone, Nat Gertler, who organized that first day and orchestrated the event annually through 2007, was more than happy to share his recollections of its formation. One detail that surprised was that the 2005 collection features the first sold story by award-winning artist Fiona Staples.
Publishing | Viz Media’s Kevin Hamric discusses how the availability of streaming anime has been boosting sales of the related manga. Series that have gotten a boost lately include Blue Exorcist and Kamisama Kiss: “Overall streaming has had a positive effect on our book sales. In recent years, Blue Exorcist is probably the biggest example I can give — one of newest hits under our Shonen Jump Advanced imprint. We launched our series [in 2010] and had very good sales (they matched our expectations), but once the anime was available through streaming, sales jumped through the roof, and that was in 2011. So streaming was fairly young at that time. Once the anime was streaming, sales of the manga were way above expectations.” [ICv2]
ROBOT 6’s Corey Blake wrote a great piece last month on the evolution of digital comics and the innovations that make them more than just electronic copies of print comics. Without repeating what he said, those innovations raise a couple of questions that are also worth talking about: What are we going to call this new format and does it even need a separate name?
Gabriel Hardman (Star Wars: Legacy, Kinski) recently asked on Twitter, “Is there an accepted name for the Thrillbent/Infinite style of digital comics?” Even filtering out all the joke responses (my favorite is Dennis Culver’s “Labor Intensive”), the answer seems to be no.
A couple of folks note that Scott McCloud’s Infinite Canvas (or, alternatively, Expanded Canvas) is a common term, but Hardman observes that it could be seen as pretentious, which might keep it from catching on. I like the idea of letting McCloud name it — he more or less came up with the idea — but it does remind me of how it sounded when comics fans all started referring to the medium as “sequential art.” It’s a great term for talking about comics academically, but not so good for popular use.
How quickly we’re evolving: From Yvyes Bigerel’s rough demo in February 2009 to the near-simultaneous launch of Mark Waid’s Thrillbent and Marvel’s Infinite Comics in March 2012 to the Marvel ReEvolution suite of digital initiatives announced earlier this year (and still coming). And now we have DC Comics’ entry, DC2 (“DC Squared”), which looks to be the company’s take on Bigerel’s concepts. Also announced is DC2 Multiverse, a choose-your-own-adventure style digital comic that will inform DC on readers’ story choices.
While the latter seems a little creepy, it’s becoming clear that after years of digital and webcomics primarily mimicking print comic books and comic strips, a new kind of comic is emerging, one that is changing how they’re made and read.
These current platforms were far from the first to experiment with digital. Artists like Cayetano Garza Jr. began experimenting with limited effects and layout as early as 1998. Scott McCloud’s infinite canvas theory, in which digital could break free of the confines of the limited dimensions of a page, was proposed in 2000, ironically in the pages of his print book Reinventing Comics. Experiments with using an infinite canvas followed, but it never grabbed hold as a standard format. Mostly, webcomics have echoed the structure and dimensions of daily newspaper strips with the occasional experimentation.
Ladies and gentlemen, welcome back for another round of Robot Roulette. It’s kind of like Vegas, without the mob connections or chances of actually winning money–comic creators spin the virtual wheel and get six questions thrown at them to answer.
Today Kurt Busiek takes his six questions and turns them into gold. Kurt, of course, is the award-winning writer of Astro City, Liberty Project, Untold Tales of Spider-Man, Marvels, Avengers, Arrowsmith, Shockrockets, Thunderbolts, Iron Man, Kirby: Genesis, JLA/Avengers, Trinity, Superman: Secret Identity, Conan, Power Company and many, many more comics. You can find out more about him on his website.
My thanks to Kurt for agreeing to answer our questions. Now let’s get to it …
Publishing | The Penguin Group plans to wade into the market for children’s graphic novels with a new line aimed at middle-grade and young-adult readers. “Clearly it’s a huge, growing market, the kid’s graphic novel market,” Penguin’s Rich Johnson told ICv2 at New York Comic Con. “You see those titles making the bestsellers list all the time. So we are looking to do work in that area to get more kids reading comics.” [ICv2]
Creators | Feisty as ever, Stan Lee talks about his World of Heroes YouTube channel and breaks up the camera crew a couple of times in an interview shot New York Comic Con. [MTV Geek]
Now available On Demand, the documentary Comic Book Independents by director Chris Brandt receives wider distribution at an interesting time. In the midst of a migration of comic book creators from work-for-hire to creator-owned projects, and just as a renewed discussion about creator rights gains momentum, this documentary offers fascinating insight on what it means to go it alone in comics.
It’s not your usual comics documentary, and if you’re a creative type yourself, or are interested by those who are, you’ll probably find yourself inspired. Framed by information from cognitive psychologist Dr. James Kaufman, the human process of creativity as it is realized in comics is broken down and explored by some of the art form’s most interesting thinkers and voices.
Comics College is a monthly feature where we provide an introductory guide to some of the comics medium’s most important auteurs and offer our best educated suggestions on how to become familiar with their body of work.
Today we’re looking at one of the comics medium’s most restless and interesting inventors and theorists — and a pretty compelling storyteller to boot — Scott McCloud.
Mark Waid made his career in print comics, but over the past few years he has become increasingly involved in digital work, and this short video demonstrates where his thinking is going. Waid believes that the day of the print-first comic is coming to an end, and that creators should be designing their comics with the digital reading experience in mind.
This past Sunday was 24-Hour Comics Day, a grand old comics tradition that began in 1990 when Scott McCloud challenged his friend Steve Bissette to draw an entire 24-page comic in a single day. Scott has posted the whole story, including the first 24-hour comics, on his blog. The idea loped along for a while until 2004, when writer and publisher Nat Gertler came up with the idea of making it a Thing, with coordinated events and people posting on the internet and so forth. And now it even has its own Twitter hashtag. What a long way we have come!
I looked through a lot of blog posts while compiling this, and one thing I noticed was the number of people who felt their comics failed, or who didn’t complete the challenge. I think the value of 24-Hour Comics, especially for newcomers, is that it allows the creator to start something and bring it to a close within a defined period. Starting things is easy, but finishing them is hard, and even finishing a bad comic is better than starting a lot of good ones and never bringing them to a close.
Tom Spurgeon is compiling the definitive, exhaustive collection of links, and what I see from his list and the people linked at the official 24-Hour Comics Day site is that very few well-known creators took the challenge this year; the flip side of that is that there are a lot of ambitious newcomers who gave it a shot.
On the other hand, there were a few veteran creators, including Lea Hernandez, whose comic was super-cute and very colorful, although a bit lacking in storyline …