X-POSITION: Nicieza Body-Slides From "Age of Apocalypse" to "Deadpool & Cable"
Creators | In an article translated from an Arabic newspaper, The 99 creator Naif Al-Mutawa discusses what life has been like since a fatwa was issued earlier this year in Saudi Arabia against the animated adaptation of his comic: “You can imagine the call I had with my parents and my children when the front page of Kuwait’s leading daily newspaper quoted various death threats. ‘Look on the bright side,’ I told my parents, ‘This shows the impact of The 99.'” He ends on a chilling note: “Why would anyone invest in media content if the producers can be sent off to the public prosecutor’s office and potentially serve jail time? Isn’t it just easier to keep dubbing Turkish, Mexican and American dramas? And if we keep doing that, aren’t we diluting our culture?” [The Beat]
Censorship | The Hartford Courant published two of the most influential editorials of the great comics scare of the 1950s — one was reprinted by Readers’ Digest — so it’s appropriate that David Hajdu, author of The Ten Cent Plague, will visit the city next week during Banned Books Week. This article includes an interview with Hajdu and an excerpt from a 2008 interview with former managing editor Irving Kravsow, who wrote one of the scare pieces. [The Hartford Courant]
DC Comics’ Vertigo imprint has been the subject of a lot of speculation over the past year or so, due to a variety of portents: the departure of founder and longtime executive editor Karen Berger; the end of the imprint’s longest-running title Hellblazer, with the character reclaimed by the DC Universe in Justice League Dark and Constantine; the debut at Image Comics of several comics that, not long ago, likely would’ve been pitched to Vertigo; and the launch of the offbeat Dial H, by none other than acclaimed author China Mieville, in the New 52.
There was the perception that the imprint’s branding had become confused, with books that used to fall under to the dissolved WildStorm imprint (and seem like better fits for the DC brand) appearing under the Vertigo banner (superhero comics Astro City and Tom Strong, movie adaptation Django Unchained). And then there were the low sales and cancellations.
Well, Vertigo’s still around. It launched The Wake, a limited series by American Vampire and Batman writer Scott Snyder and Sean Murphy, and the imprint has plans for a new Sandman miniseries and a Sandman spinoff. And in the last few months, it has launched enough new series to be considered a wave.
So what does that mean for the future of the imprint? I’ll be damned if I know. However, I do know it’s not the most important question in my mind. Of greatest import to me, as always, is whether the comics are any good. So let’s take a look at the the beginnings of Vertigo’s latest crop, excluding The Wake, which I think it’s safe to assume will find an audience.
The Irish company that prompted Vertigo to change the title of the new series by Simon Oliver and Robbi Rodriguez from Collider to FBP: Federal Bureau of Physics is now hoping to exploit the situation to its own advantage.
Trumpeting its victory in “a battle against DC Comics/Vertigo,” the Dublin-based beActive issued a press release Tuesday promoting its own Collider while gently chiding the American publisher for its lack of diligence. “The Irish company published the COLLIDER comic book series worlde [sic] in 2012, therefore claiming ownership of the brand,” the release states. “In January 2013, COLLIDER even made the TOP 5 on Comics Plus, the largest online comic book store in the U.S.”
While it’s not unheard of for a publisher to change the name of a comic before publication because of a trademark conflict, in this instance, the announcement came more than a week after the release of Collider #1.
As Oliver recounted last week to Comic Book Resources, “The first issue’s printed and being loaded on the trucks and we get a call from legal to tell us that someone else, on the other side of the globe says that they have creative dibs on the name ‘Collider’ and we have to change our title.” The second issue, out Aug. 28, will bear the title FBP: Federal Bureau of Physics.
Conventions | Boston Comic Con is coming this weekend, and founder Nick Kanieff talks about how it has grown from 900 attendees at the first con, in 2007, to an expected 15,000 for this year’s event, which was rescheduled because of the Boston Marathon bombings. [MetroWest Daily News]
Publishing | Denis Kitchen discusses the return of Kitchen Sink Press to publishing as an imprint of Dark Horse. It kicks off in December with an anthology, The Best of Comix Book. [Publishers Weekly]
Creators | Peter Steiner’s cartoon, captioned “On the internet, nobody knows you’re a dog,” is the most-reproduced cartoon in the history of The New Yorker. On the 20th anniversary of its publication, Steiner looks back on its creation, which came about almost by chance, and the ways the world has changed in the interim. One interesting nugget: The most-reproduced cartoon in The New Yorker has brought its creator a total of $50,000 in royalties over the past 20 years. [Comic Riffs]
If the first day of the Chicago Comic & Entertainment Expo was dominated by announcements from Dark Horse and DC Comics, then the second day belonged to Marvel, which followed through on its teaser for a new series, revealed an Icon relaunch, and shuffled some creators. Here are some of the highlights from Saturday (along with a couple of holdovers from Friday):
• As usual, the “Cup O’ Joe” panel was where Marvel rolled out its biggest publishing announcements, beginning with confirmation that the teaser released last week is indeed for a Hawkeye ongoing series reuniting The Immortal Iron Fist collaborators Matt Fraction and David Aja. In the title, which debuts in August, Clinton Barton will be accompanied by fan-favorite Young Avenger Kate Bishop as he fights organized crime in New York City. “It’s very Avengers, by which I mean John Steed and Emma Peel. There’s a whole healthy person between the two of them,” Fraction told Comic Book Resources. “There’s a line in Rocky where he says, ‘I got bumps. You got bumps. Together we fit,’ or something like that — the two of them fit together. Each one has what the other doesn’t, which means they work very well together. She’s young, incredibly gifted, incredibly cultured, and incredibly headstrong. She doesn’t suffer his crap and also wants to be someone worthwhile, but she’s trying to figure out how to make that possible. She follows him not because of his abilities, but his accomplishments. So they work together quite well. It’s an apprentice and master style relationship.”