Vaughan & Chiang's "Paper Girls" Builds a Familiar Yet Disconcerting World
Legal | Representatives of Comic-Con International and Salt Lake Comic Con are scheduled to meet Nov. 24 with a federal judge to discuss a possible resolution of their dispute over the term “Comic Con.” Comic-Con International sued the Utah event in 2014, 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. Salt Lake Comic Con co-founder Bryan Brandenberg, who met this week with Comic-Con International organizers, said he’s confident a settlement would be “greats news for our fans,” but he declined to say whether the Utah event would keep its name. [KSL.com]
Conventions | With the long-planned expansion of the San Diego Convention Center stalled indefinitely, the Los Angeles Times offers an overview of efforts to keep Comic-Con International in the city past 2016, and what suitors like Los Angeles and Anaheim, California, have to offer. “The proposals we’ve received are pretty amazing,” says Comic-Con spokesman David Glanzer. “It’s not an easy decision.” However, the San Diego Tourism Authority remains confident that convention organizers will sign a deal — possibly with a month — to remain in the city through 2018, based on an agreement for nearby hotels to offer their meeting space for Comic-Con programming. (The Tourism Authority has already asked hotels in the Comic-Con room block to freeze their rates at 2015 levels for the next two years.) [Los Angeles Times]
Just when it seemed Milo Manara’s controversial variant cover for Spider-Woman #1 had been thoroughly scrutinized, criticized, defended and lampooned, two more critiques emerged that will likely lead you to rethink the image, and then wash your eyes out with industrial cleaner.
Note: Perhaps needless to say, neither of these is particularly safe for work.
I’m not sure why I was so surprised that Matt Inman’s The Oatmeal received an Eisner Award nomination this year, but judging from some other online reactions, I wasn’t the only one.
It’s not like it doesn’t deserve it. The Oatmeal easily has a larger following than the other nominees. How many copies does a print copy have to move these days before it’s considered a success, 100,000?
The Oatmeal has hundreds of times more than that — 5 million unique readers according to a 2010 Seattle Weekly article. It’s even hugely profitable. That same article mentions Inman’s take-home pay in 2010 was a half-million dollars. A huge part of it is Inman’s expertise at SEO, which just means he played the same game that made BuzzFeed the household name it is today.
The Oatmeal covers a variety of subjects. Some of the entries have intentionally inflammatory subjects, such as ‘“How to suck at your religion” and “What it means when you say ‘literally.'” Inman tackles these subjects with the burning righteousness of an angry political pundit, depicting the wrong as googly-eyed fools and leaning heavily on the bold and italicized font settings. I thought for sure those would be the most popular strips on his site.
The Eisner Awards, arguably the most prestigious in the comics industry, will be presented July 25 during Comic-Con International. Among the assortment of awards given to artists, writers and colorists, there’s an odd little thing that’s a relative newcomer: the Best Digital Comic Award. Here’s the criteria: “The best digital comic category is open to any new, professionally produced long-form original comics work posted online in 2012.” They have to have a unique domain name, and they have to be “online-exclusive for a significant period” before being available in print.
Rather odd, considering that many of this year’s nominees barely qualify under those parameters. A “long-form comic” suggests an extended, dramatic story. The Oatmeal doesn’t really qualify (unless you consider the bid for a Tesla museum to be a real-life epic). High Crimes technically has a domain name, but it directs you to comiXology for digital download. It’s all part of the challenge in determining what, exactly, a “digital comic” is. Looking at previous nominees, there are several that don’t fit neatly within the rules.
Comic book awards. You can’t live with them, you can’t live without them. On the one hand, there are several challenges to clear. Who’s worthy of nomination? If it’s “Best Digital Comic,” what are you awarding it for — the way it takes advantage of its online environment, or the content? Generally, it’s the content, but if that’s the case, shouldn’t it be competing in the existing comic categories rather than be banished to the sidelines? (Several webcomics, including The Adventures of Superhero Girl, have been in contention in other categories … but only after their digital content has been converted in the traditional currency of ink and pressed wood pulp, as God intended.)
Legal | The final chapter of The Oatmeal vs. Charles Carreon has been completed (we hope), and it’s not a shining moment for Carreon: A judge has ordered him to pay $46,000 in attorney’s fees to the creator of a Satirical Charles Carreon website, whom he threatened with legal action. Carreon eventually dropped his suit, but the whole dispute escalated anyway, and the judge cited his “malicious conduct” in awarding the fees. [Ars Technica]
Digital comics | Amazon has quietly launched Kindle Comic Creator, which allows creators to upload various types of files and make them into e-books to be sold in the Kindle store; the software has its own system for creating panel-by-panel view, and the finished product can be read on a wide variety of Kindles and Kindle apps. [Good E-Reader]
Digital comics | ComiXology, which earlier this week announced the opening of a European branch, has revealed its first big score: a digital-distribution agreement with Delcourt, the top independent publisher in France. And comiXology kicked off the agreement by updating its dedicated Walking Dead app to include a French interface and the French editions of the comic. The company also plans a dedicated Lanfeust of Troy app, and of course it will roll out Delcourt titles on its regular app as well. [ComiXology]
Auctions | A copy of Detective Comics #27, which contains the first appearance of Batman (or, as he was called in 1939, “the Bat-Man”), will go on the auction block later this month. The comic, which is CGC rated 6.5, is expected to fetch $500,000, but there’s no reserve, so this might be an opportunity to pick up a bargain. [Art Daily]
You don’t step on Superman’s cape. You don’t spit into the wind. And you don’t mess around with Matthew Inman, creator of the wildly popular webcomic The Oatmeal. Charles Carreon learned that earlier this year, when he sued Inman over allegedly defamatory comments and was made an Internet laughingstock.
Now Inman has taken aim at Jack Steuf, who last week wrote an unflattering profile of the cartoonist at BuzzFeed. (True confession time: I linked to the article in Comics A.M., although by the time I read it, the most egregious error had already been removed.) Inman posted the BuzzFeed article in its entirety and added his own annotations, taking issue with almost every point and ending with the allegation that Steuf had to leave his last job after a fake birthday card that mocked a poem written for Sarah Palin’s son, who has Downs Syndrome.
The most serious error in the BuzzFeed article is that Steuf relied in part on what turned out to be a fake profile of Inman on a website called SodaHead. The profile portrayed Inman as married, with children, and a staunch Republican, none of which is true. In fact, Inman is not married, has no children, and voted for Barack Obama both times. BuzzFeed removed the inaccurate information and added a terse note at the end of the article:
Update: A previous version of this piece linked to a profile that implied Inman was married, had children, and holds certain political beliefs. The profile is a fake. Inman refused to comment for this story, but posted an extended challenge to it on his website.
As mea culpas go, that’s pretty thin gruel. This is bad stuff. It’s poor journalistic practice to trust anything online, and the fault lies not just with the reporter who did it but also with the editor who let it get by. As Slade Sohmer points out in a nice analysis of the situation at HyperVocal, BuzzFeed’s nonchalant response erodes the website’s credibility and, by association, online media in general.
Publishing | Declaring this “the year of The Walking Dead,” the retail news and analysis site ICv2 notes the $60 Compendium volumes One and Two could “easily” be the top-selling graphic novels of 2012. Those two books also topped the Nielsen BookScan chart of graphic novels sold in bookstores in November, joined by six other collections from the acclaimed horror series in the Top 20. Chris Ware’s $50 Building Stories, which has emerged on best-of lists as one of the books — and the graphic novel — of 2012, was No. 3 in November, followed by DC Comics’ Superman: Earth One, Vol. 2, and, in a surprise Top 20 appearance by Marvel, the $75 Avengers Vs. X-Men hardcover at No. 5. [ICv2]
The Oatmeal creator Matthew Inman, who was embroiled in a bizarre and hilarious legal dispute over the summer, is now facing another lawsuit, this time from a Massachusetts greeting card company.
Law360 reports that Excelsior Printing Co. on Tuesday sued the popular cartoonist and Papyrus-Recycled Greetings, a subsidiary of American Greetings, claiming they’re using a trademarked name to sell cards based on Inman’s Oatmeal creations. Excelsior insists its recently purchased subsidiary Oatmeal Studios has been using the name to market humorous cards for more than 35 years.
The lawsuit asserts the use of “The Oatmeal” mark will confuse consumers, who may believe the businesses are related. Excelsior asks for unspecified damages and an injunction barring The Oatmeal from using its name in association with greeting cards.
Creators | In the wake of the FunnyJunk/The Oatmeal legal dispute, Ian Pike talks to San Diego-based webcomics creators David King and Phil McAndrew about the problem of having their work re-posted without credit. “If I were to sit there and try to hunt down all the websites that re-post my comics without my name on them,” McAndrew says, “I wouldn’t have any time to draw new stuff. So most of the time I just shrug my shoulders and keep on drawing.” One interesting sidelight is that Matthew Inman, the creator of The Oatmeal, has set up a site called BearFood where users can share their favorite webcomics with the appropriate links. [San Diego Reader]
Digital comics | Matt White surveys the digital-first landscape with a look at the strategies (or the lack thereof) from publishers ranging from DC Comics to Viz Media: “While the majority of digital comics are just digitized versions of print comics, available simultaneously (known as ‘day-and-date’) or after the physical version hits shelves, current digital-first offerings seem to represent an alternative, more specific market as publishers begin to treat digital more as a complement to print rather than a replacement.” [Publishers Weekly]
“The logical goals of the lawsuit were accomplished,” Carreon told The Washington Post. “Inman aborted his ‘publicity stunt’ to photograph himself with the proceeds that were intended to go to charity, the court took cognizance of the issues and ordered Inman to deposit evidence of his disposition of the funds, and Inman deposited the evidence of payments made to the charities.”
Of course, Inman intended to give the money to the charities all along, so Carreon suing him to do so is a bit like me suing the sun to force it to rise in the morning. It’s worth noting that Carreon actually filed a motion that would have delayed turning over the money, presumably to prevent Inman from photographing it. In the end, Inman photographed himself with $200,000 of his own cash, which he could do because The Oatmeal pulled in about $500,000 last year.
Anyway, this story still has some legs. Carreon himself is now being sued (by a frivolous litigant, but hey, sauce for the goose), and his threats to sue a blogger who set up a parody site mocking him led the blogger to take the matter to court and ask for a declaratory judgment (basically, legalese for fish or cut bait). And read on for the strange parallel between the site he and his wife maintain and the busted pirate site HTMLComics.com.
Conventions | Creative director Rico Renzi discusses HeroesCon, which celebrates its 30th anniversary this weekend with a three-day event that’s experienced a spike in advance ticket sales: “Stan Lee’s attendance to this year’s show has definitely caused a spike in advance ticket sales from what I can tell. I honestly like the show at just the size it is; it’s just right. I used to hop on a bus from Baltimore to go the NYCC and I loved it for the first couple years. It just got too big for me too enjoy it, you couldn’t walk around without rubbing up against strangers. It’s a great alternative to San Diego now I guess. If you’re looking for a pure comic book show though, HeroesCon is where it’s at.” In addition to Lee, this year’s guests include Neal Adams, Mark Bagley, Cliff Chiang, Frank Cho, Becky Cloonan, Geof Darrow, Kelly Sue DeConnick, Evan Dorkin, Tommy Lee Edwards, Matt Fraction, Francesco Francavilla, Jaime Hernandez, Dave Johnson, Jeff Lemire, Paul Levitz, Mike Mignola, George Perez, Louise Simonson, Walt Simonson, Scott Snyder and Bernie Wrightson. [The Comics Reporter]
Legal | Danny Bradbury takes a look at the financial and copyright aspects of online comics in an insightful article spurred by the recent dust-up between The Oatmeal and FunnyJunk. Among other things, he parses out how The Oatmeal creator Matthew Inman makes $500,000 a year from his comic, why Inman and other creators object to their work being published elsewhere without attribution (and why they sometimes don’t care), the legal protections they can use (and how they sometimes fail), and how sites like Pinterest avoid the problem. There’s also an explanation of why FunnyJunk attorney Charles Carreon is suing Inman et al. on his own behalf, rather than FunnyJunk’s: “Carreon has now effectively abandoned the threat of a FunnyJunk lawsuit, stating that he was misinformed by his client. His letter claimed that all the comics had been removed from FunnyJunk, but Inman pointed out dozens that were still there.” [The Guardian]
Attorney Charles Carreon is the gift that keeps on giving for comics and law bloggers alike.
He’s the lawyer for the website FunnyJunk, which allows users to upload content they find amusing. About a year ago, The Oatmeal creator Matthew Inman blasted FunnyJunk for posting a number of his comics without his permission. Two weeks ago, Carreon sent Inman a letter threatening to sue for defamation if he did not pony up $20,000. Inman posted the letter with some snarky commentary and set up a fundraiser on IndieGoGo to raise $20,000. His plan is to send a photo of the money, together with a rude cartoon about the mother of the FunnyJunk owner, to Carreon and donate the cash to the American Cancer Society and the National Wildlife Federation. More than $200,000 has already been pledged in the fund-raiser. But on Friday, Carreon sued Inman, IndieGoGo, and both charities.
Here’s a quick roundup of recent developments: