"Revolution" Ends, "TMNT/Batman:TAS" Begins in IDW's November 2016 Solicitations
Legal | A former Emerald City Comicon volunteer has filed a class-action lawsuit accusing convention organizers of using volunteers as unpaid employees in 2014 and 2015. While it’s true that the volunteers signed on willingly — in fact, it’s rather competitive — the lawsuit argues they do work that’s essential to the convention and therefore ECCC is violating state labor laws by not paying them. “In Washington, the base is that if you are an employer, you have to pay the minimum wage,” says Hardeep Singh Rekhi, the plaintiff’s attorney. “We don’t believe that someone should be able to profit off unpaid labor, even if it’s something people love to do.” The plaintiffs estimate that there are 250 people in the affected class, i.e., people who performed the functions of employees but were not paid. Had ECCC been a nonprofit, it might have been exempt, but it was not. This year, the convention was run by ReedPOP, which did pay the staff. [Seattlish]
Legal | The saga of Hi Score Girl continues this week, with the Osaka Prefectural Police charging creator Rensuke Oshihiri and 15 employees of publisher Square Enix with copyright infringement. Game publisher SNK Playmore originally filed criminal charges against Square Enix over the summer, claiming that Hi Score Girl, a comedy about gamers, used its characters without permission. Square Enix has recalled the published volumes of the series and halted serialization in its Monthly Big Gangan magazine. [Anime News Network]
Passings | Political cartoonist and collector Art Wood, a founding member of the Association of American Editorial Cartoonists, died Nov. 4 at age 87. He donated more than 40,000 pieces of original cartoon art to the Library of Congress for its bicentennial, and the library published a book, Cartoon America, based on the collection. [The Daily Cartoonist]
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]
The Canadian cartoonist simply known as Seth has been the focus of two remarkable events in recent weeks: a documentary, Seth’s Dominion, that just won the grand prize for best animated feature at this year’s Ottawa International Animation Festival, and an exhibit of his model town, Dominion, at the University of Lethbridge Art Gallery in Lethbridge, Alberta.
The film was directed by Luc Chamberland and is a mix of live-action and animation based on Seth’s art. Chamberland described the start of the process in an interview:
Digital comics | Amazon has removed the manga Younger Sister Paradise 2 (Imōto Paradise! 2) from the Japanese Kindle store, two days after the Tokyo Metropolitan Government declared the manga a “harmful publication to minors” because of its “glorification of incestuous acts” and restricted its sale to customers over 18. As a result, beginning Friday, brick-and-mortar bookstores in Tokyo must keep the manga in a separate area for adults only. Whether because of all the attention or because it was unavailable elsewhere, the manga was the top-selling comic in the Japanese Kindle store before Amazon removed it. [Anime News Network]
Some people compare superheroes to mythical gods because of their supernatural powers (and for their all-too-human squabbles), and Marvel has made a mint on translating a Norse deity into a superhero with Thor. But beyond the borders of Asgard is a cornucopia of gods and demigods in the Marvel pantheon just waiting to be reawakened and put back into the fight. And I’m not talking about Marvel movies (although that’d be nice, too!). I’m talking about Marvel Comics’ staff bringing these heroes (and villains) of lore back into the mix.
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]
Avengers: Endless Wartime (Marvel Entertainment): Marvel’s new line of original graphic novels — note the “Marvel OGN” logo on the spine — is off to a pretty strong start with this continuity-light Warren Ellis-written, Mike McKone-drawn story of an Avengers squad facing a new form of semi-sentient weapon evolved from a generation-old attempt to marry Nazi science with Norse magic.
That’s a good conflict for an Avengers comic, as the team includes a Nazi-fighting hero and a Norse god, and, better still, both Captain America and Thor were tied to the this new weapon’s origin.
Ellis does his usual fine job of mixing current science, speculative next-level science, elements of our zeitgeist and corporate superheroes with something that feels appropriate, cool and like the writer has something to say. Additionally, he has a pretty decent handle on the characters, and does a relatively good job of singling out particular voices (this is the first time in a long time that I’ve read an Avengers comic where everyone didn’t talk like Brian Michael Bendis).
Cap, Thor, Iron Man, Wolverine, Captain Marvel, Black Widow and Hawkeye, who reflects Matt Fraction’s version, are a bit of a rag-tag group, but they seem to be assembled primarily for their military backgrounds. “Do you know, I just realized I’m the only non-soldier in the room,” Tony Stark says at one point, and Captain Marvel sneers back, “That’s right, Tony. You’re just an ex-arms manufacturer in a metal death suit.”
Graphic novels | Graphic novel sales are up 6.59 percent in comics shops, and they are also up in bookstores, according to the latest issue of ICv2’s Internal Correspondence. Sales have been increasing in the direct market for a while, but this is the first uptick in bookstore sales since the economy crashed in 2008. There seem to be several factors, including the popularity of television and movie tie-ins — the success of DC’s graphic novel program linked to Man of Steel is singled out — and a turnaround in manga sales. The article winds up with lists of the top properties in a number of different categories. [ICv2]
Digital comics | Here’s today’s news article on Crunchyroll’s new digital manga service, which offers same-day releases of 12 Kodansha manga titles for free and an all-you-can-eat service for $4.99 a month. Tomohiro Osaki interviews Japanese publishing insiders, who are upfront about the fact that this is an attempt to compete with pirate sites, and translator Matt Thorn, who says that better translations on the official site may lure readers away from scanlations. [The Japan Times]
Thirty-six questions. Six answers. One random number generator. Welcome to Robot Roulette, where creators roll the virtual dice and answer our questions about their lives, careers, interests and more.
Joining us today is Ethan Rilly, creator of the award-winning series Pope Hats.
Now let’s get to it …
Digital comics | So, your $3.99 comic comes bundled with a download code for a free digital copy, but you’re strictly a paper person. What to do? Todd Allen has a fascinating article about the secondary market in unused download codes, not just the fact that they are being sold fairly openly but also what that market tells us about the true value of comics: “Outside of eBay it’s relatively easy to use Google to find somewhere to swap or purchase Ultraviolet codes. The Home Theater Forum’s classified ad section has codes sprinkled in, with a low $2-$3 looking like a common price. Codes are also easy to find on Reddit, including a dedicated subreddit, though codes on Reddit are swapped or given away, not sold.” [The Next Web]
Conventions| Small Press Expo announced its first round of guests for the Sept.14-15 convention: Seth, Gary Panter, Lisa Hanawalt, Gene Yang and Frank Santoro. [SPX]
Events | Richard Pachter surveys the graphic novel scene at Miami Book Fair International, which this year will include appearances by Chris Ware, Derf Backderf, Marjorie Liu, Dan Parent and Chip Kidd, among others. [The Miami Herald]
Events | A group of Canadian creators and publishers are in Tokyo right now for the International Comics Festa, where they are selling an anthology that includes work by Darwyn Cooke, Bryan Lee O’Malley, and Seth. Manga blogger Deb Aoki is there too, and she has all the details. [About.com]
It’s not every month that we get to discuss a new issue of Ethan Rilly‘s Pope Hats, but here we are. This month, AdHouse is releasing Pope Hats 3 and giving readers a chance to enjoy the latest in the unique lives of law clerk Frances Scarland and her pal Vickie (among many other distinctively engaging characters).
In an interview with Robot 6, the Toronto-born/Montreal-based storyteller talks about his view on creating covers, the impact of winning a 2008 Xeric Grant, and his inclusion of the late, great Spalding Gray in his latest issue. As much as I enjoyed reading Issue 3, as a longtime fan of Gray’s writing, I was apoplectic when I found Rilly had worked him into a strip in the latest Pope Hats installment.
Tim O’Shea: First off, a little historical perspective. Last year the Xeric Grants came to an end for comics. You won a Xeric Grant back in 2008. How instrumental was the grant to getting Pope Hats off the ground?
Ethan Rilly: It seems like 10 years ago … Of course it was a great help. It covered printing and shipping costs for the first issue. I can’t say at that point I knew exactly what I wanted to do with the series as a whole, but the seeds were there, and the grant definitely helped get the ball rolling. It’s rare as a cartoonist to receive any financial support for this type of personal work, so I was fortunate. I sometimes do freelance illustration and I get a taste of things going in the other direction—bending your creative energies toward a pre-established need. Doing your own weird exploratory thing is always best.
The day Lemony Snicket fans have been waiting for has arrived with the release today of Who Could That Be at This Hour?, the first book in a planned four-part prequel to the wildly popular A Series of Unfortunate Events. As we noted in March, renowned cartoonist Seth is providing the covers and interior illustrations for the series, All the Wrong Questions, an autobiography of sorts that goes back to Snicket’s childhood in a “fading town, far from anyone he knew or trusted.”
If you visit the Lemony Snicket website — ignore the request to “Please leave” — you’ll see not only a Seth-drawn background but also an excerpt from Who Could That Be at This Hour? that includes several of his spot illustrations (some of which are included here).
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a splurge item.
If I only had $15, I’d walk out a happy camper despite only having one book, because that book is 20th Century Boys, Vol. 22 (Viz, $12.99). While your typical American comics fan may have no idea who Naoki Urasawa is, he is in my mind undoubtedly the best cartoonist working today. Twenty-two books in and he hasn’t let up, delivering comics’ example of long-run storytelling perfection a la Sopranos. Friend is one of the most terrifying villains I’ve seen in comics in some time, and the mad assemblage of childhood pals out to stop him are some of my most treasured fictional friends.
If I had $30, I’d come back to comic stores on an American tip, starting off with Godzilla: Half Century War #2 (IDW Publishing, $3.99) by James Stokoe. I missed this when the first issue came out, but since then I’ve found it and relished its pure cartooning chaos. The first issue was an ideal debut, and I’m interested to see Stokoe take Lt. Murakami to Vietman in the ’60s for the ongoing war on Godzilla. After that I’d get the satisfying chunk, Dark Horse Presents #16 (Dark Horse, $7.99). I’ve been repeating the same praises every month, so let me try to spin it differently. This new issue, I have little idea what’s in it besides the return of Crime Doesn’t Pay; there’s a new series by Jimmy Palmiotti and Justin Gray in it I have heard nothing about, but DHP has re-built its track record of excellence and I’m fine spending $7.99 sight unseen. My final pick would be Daredevil #18 (Marvel, 2.99). Chris Samnee is quite different than the original artists on the book, but is excelling with Mark Waid in a new way — and that’s good. Instead of aping what had gone before, Samnee assuredly gives us his own style that would make any true fan of art in comics smile.
Oh ,wait, I found some money. I know, I’ll buy Memorial, Vol. 1 (IDW, $24.99). I missed this in singles, and this hardcover looks like the perfect chance to me to make up for past mistakes. These covers by Michael WM Kaluta really get my heart beating, and I’ve been wanting to read more of Chris Roberson on his own. The preview on IDW’s website gives me the impression it’s got down-to-earth personality amidst a fantasy world, and reminds me of classic supernatural fiction like A Wrinkle in Time or The Lion, the Witch and the Wardrobe.