"Game of Thrones": 10 Questions for Season 7
Conventions | Organizers of Comic-Con International and Salt Lake Comic Con are reportedly attempting to reach a settlement in their trademark dispute over the term “Comic Con.” Weeks after issuing a cease-and-desist letter in July 2014, Comic-Con International sued the Utah event, insisting organizers were attempting to “confuse and deceive” fans and exhibitors with their use of the term “Comic Con.” The producers of Salt Lake Comic Con have called the lawsuit “frivolous,” arguing that Comic-Con International’s trademarks are invalid. After being granted the trademark in July for “Salt Lake Comic Con,” organizers claimed victory in the feud, but Comic-Con International maintained nothing had been resolved. Now Salt Lake Comic Con co-founder Bryan Brandenburg says lawyers updated a federal judge about that case on Tuesday, and that both sides are still working to come to an agreement. A hearing scheduled for next month. [Fox13]
It’s difficult to say why I enjoy interviewing Chris Schweizer so much, but it may be because he’s always looking to improve his craft. And Oni Press’ new editions of his Crogan Adventures series, which are in full color due to the inspiration of Brian Hurrt and Matt Kindt, are only the tip of the iceberg.
Schweizer took some time to talk with me not only about the move to color, but also the expansion of the Crogan family tree to include women, his collaborators, and whether the former SCAD instructor might some day return to teaching.
Tim O’Shea: How flattered were Brian and Matt that they indirectly prompted your decision to switch to color with Crogan?
Chris Schweizer: Yeah, I talk about their role in this a bit in the foreword to Catfoot’s Vengeance, where I explain the reasons for going to color. I wouldn’t really call it “indirectly.” They were the catalyst behind my decision to work in color on everything (if you can call the direction that one’s work takes a decision; I feel like artists have very little say in the matter — artists can hamper their own evolution but can’t really steer it), which ended up requiring revisiting these earlier books to make them consistent with the ones on which I’m currently working. Their influence over that direction couldn’t be more overt.
Since the first time I hung out with Monkeybrain Books founders Allison Baker and Chris Roberson at the Westin hotel bar during HeroesCon a few years back, I have longed to do a joint interview with them. While their publishing house Monkeybrain Books has been in existence since 2001, in July Baker and Roberson launched a creator-owned comiXology-distributed digital imprint, Monkeybrain Comics. While much is known of Roberson, not everyone knows Baker’s background. As detailed at their company website: “Allison Baker has worked in feature film and political media production for more than 13 years, while also managing the day-to-day operations of Chris Roberson and Monkeybrain Books.” Please allow me to apologize in advance for not quizzing Roberson about my new favorite Monkeybrain work of his, Edison Rex. Update: After I finished posting this article, Monkeybrain announced that tomorrow (August 14) would mark the release of a 99-cent autobiographical story by Kurt Busiek, Thoughts on A Winter Morning, drawn by Steve Lieber (a story which was originally appeared in Negative Burn: Winter 2005).
Tim O’Shea: Which came first, the decision to move to Portland or the decision to move Monkeybrain into the digital realm?
Allison Baker: The move to PDX was definitely decided first. Monkeybrain Comics started out as an idea and theory, trying to solve a lot of the problems creators run into when working within a traditional publishing model. The final piece of the puzzle came to us at the end of last year. After that we started actively putting it all together in the beginning of 2012.
Chris Roberson: Yeah, we’d been planning our move to Portland for well over a year, and talking about it for a year or two before that. The germ of the idea that would eventually become Monkeybrain Comics was planted around the same time, but didn’t take its final form as a digital comics imprint until the end of last year.
Conventions | Heidi MacDonald reports that the organizers of San Diego Comic Con are tightening up on badges with measures that include matching the name on the badge to the user’s ID to prevent counterfeiting and illegal resale. Amusingly, you don’t have to go too far down the comment thread to see someone blaming Twilight fans. [The Beat]
Legal | Canadian artist Craig Wilson didn’t make it to this weekend’s Phoenix Comicon because U.S. Customs and Border Protection turned him away, saying he needed a work permit to sell comics at his Artist Alley table. Not only that, Wilson was also thumb printed and his car was searched. He said the customs agents even sent a notice to the other border crossings in case he tried to enter the country somewhere else. “I’m paying my own table at the con, hotel, meals, drinks …” Wilson said. “I was going to inject close to $2000.00 dollars into the very economy I was supposedly threatening.” [boardguy]