REVIEW: Violent, Profane "Deadpool" Shouldn't Work, But Really F---ing Does
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 …
Apart from all the “new 52″ brouhaha, one of the more interesting and talked about bits of online was Michael Fiffe’s essay on the delineations between mainstream (i.e. superhero) comics and the alt/indie comics scene. Spinning off of his essay, I thought it would be fun to list my own favorite super-styled tales by folks who usually don’t do that type of material, some of which Fiffe talked about in his essay.
Note: For the purposes of this article I’m deliberately avoiding any of the officially sanctioned productions from the Big Two, namely Strange Tales and Bizarro Comics, just to make it a wee bit harder.
“The legacy of his artistic storytelling and abilities played a key role in cementing the enduring popularity of characters like Daredevil, Iron Man, Howard the Duck, Blade and Dr. Strange, and garnered him praise and fans the world over,” columnist George Khoury said in an obituary on Comic Book Resources this morning.
In lieu of flowers, Colan’s friend Clifford Meth is asking folks to contribute to a scholarship being set up in Colan’s name for The Kubert School. Details on how to donate can be found on Meth’s blog.
Fellow creators, fans and friends of Gene Colan are sharing memories. Here are a few; as always, click through to see the entirety of what they have to say about one of comics’ legendary artists:
Clifford Meth: “I knew this day would come but it came too quickly. It’s been a rare pleasure working with Gene. He knew who he was—how valuable his contributions to the world of comic art have been—how prized it remains by so many. Yet he never felt less than grateful to anyone who’d even read a single panel that he’d drawn. Until he was too weak to hold a pencil, he put his whole kishkes into everything he drew—whether it was a $5000 commission or a small drawing for someone’s child. And he was never satisfied with his artwork but always eager to learn a little more, do a little better, try something new. At 84.”