Robert Rodriguez Joins Live-Action "Jonny Quest" Film
Auctions | Todd McFarlane’s original cover art for The Amazing Spider-Man #328 sold at auction Thursday for $657,250, shattering the record for a single piece of American comics art set last year by a splash page from The Dark Knight Returns #3 ($448,125). However, the price falls well short of the $1.6 million shell out last month for the original cover art for Tintin in America. A 9.8 graded copy of X-Men #1 was also sold by Heritage Auctions for $492,937.50, more than twice the previous record for that comic. [ICv2]
Publishing | Lily Rothman takes a look at iVerse’s newly announced comics-only crowdfunding platform Comics Accelerator, which will allow immediate delivery of digital rewards in a more sophisticated format than an e-mailed PDF and cap its share of the take at $2,500. As Laura Morley of Womanthology points out, it can go both ways: Being on Kickstarter, a trusted platform with wide visibility, helped boost the project, but on the other hand, “Any site that’s able to take advantage of the fact that comics online already work as a big community, as a place where people talk to their friends and promote things they’re interested in, is likely to do well.” [Time]
Artist Murray Groat (aka Muz, aka Muzski) has a fondness for the dementing elder gods of H.P. Lovecraft, but lucky for us, he also digs Tintin. The result is a series of fake covers pitting Hergé’s boy adventurer against C’thulhu and his kind. I can’t help but feel bad for the hero, but I’m sure Snowy will figure out how to take those demons down. Geek Art has the entire portfolio.
Rare original artwork for the cover of 1932’s Tintin in America sold at auction Saturday for a record $1.6 million, BBC News reports. The same Indian ink-and-gouache piece sold in 2008 for $943,000.
Purchased by an anonymous private collector in Paris, the piece is one of only five original Tintincovers known to exist. Just two of those are held privately. The buyer was represented by a friend identified only as Didier, who said, ” “If he’d have been able to get it for less I think he would have been happy. The aim was not to beat a record; the aim was to obtain the work, before anything else. … You don’t come here to beat the world record, to spend money, that doesn’t make any sense.”
By contrast, the record for American comic art was set in May 2011 by a Frank Miller splash page from The Dark Knight Returns #3, which sold for $448,125.
Saturday’s auction was part of a larger sale of rare Tintin memorabilia that included early sketches, as well as a copy of Explorers on the Moon signed by astronauts Neil Armstrong, Buzz Aldrin and Michael Collins.
Legal | Don MacPherson, who covers the courts for his daily newspaper, updates the case of Josue Rivera, aka comic artist Justiniano, who pleaded not guilty in May 2011 to charges of possessing more than 100 photographs and videos containing child pornography. Rivera was arrested in Connecticut following a July 2010 incident in which police say he mistakenly gave a funeral home director a thumb drive containing 33 files classified as child pornography instead of the one containing photos of a deceased relative. Police later seized Rivera’s computer and found 153 files of suspected child pornography. A judge has denied a motion to suppress the thumb drive, which Rivera’s attorney had argued was obtained by police through an illegal, warrantless search. However, the judge ruled the search valid, as the material on the drive was brought to the attention of the police by a third party, the funeral home. MacPherson’s summary of court documents provides more details on the case. [Eye on Comics]
Awards | The Guy Davis short story “The Phototaker” has been removed from the 2012 Eisner Awards ballot after it was determined to be ineligible. “The ‘Phototaker’ Eisner nomination was a mix up,” Davis wrote on Twitter. ” Jackie Estrada messaged me after I posted asking about the original English version, which came out in Metal Hurlant #9 (2003). So it’s not eligible for the 2012 Eisner nomination and has been removed. Thanks for all the congratulations yesterday, but I’m happy to clear this up and have it removed from the running.” [Eisner Awards]
Publishing | DC Comics’ Senior Vice President of Sales Bob Wayne and Vice President of Marketing John Cunningham respond to March’s direct-market sales estimates, which saw Marvel claim three of the Top 10 spots after a February shutout. “We are pleased that we gained share, and we never expected that we would hold ten out of ten at the top of the chart for ever,” Wayne said. “I think it is better for the business if everybody is firing on all cylinders, that our competitors are doing interesting things, and we are doing interesting things. It keeps everybody on their toes and it keeps enthusiasm in the readership. The retailers remain involved wanting to make sure that they have enough of everything. I think it’s a good thing all around.” [ICv2.com]
Legal | A Belgian court has rejected a five-year-old bid by a Congolese student to have the 1946 edition of Herge’s Tintin in the Congo banned because of its racist depictions. “It is clear that neither the story, nor the fact that it has been put on sale, has a goal to … create an intimidating, hostile, degrading or humiliating environment,” the court said in its judgment. Bienvenu Mbutu Mondondo, who launched the campaign in 2007 to ban the book, plans to appeal. [The Guardian]
Publishing| John Rood, DC’s executive vice president of sales, marketing and business development, discusses the results of the New 52 readership survey, noting right of the bat that it’s “not indicative of the actual system wide performance,” which makes you wonder what it’s good for. He has some interesting things to say about bringing back lapsed readers and the demographics of DC readers in general, though. [Publishers Weekly]
Creators | The Simpsons creator Matt Groening has given $500,000 toward the creation of a chair in animation at the University of California, Los Angeles. The Matt Groening Chair in Animation at UCLA’s School of Theater, Film and Television will “allow visiting master artists to teach classes” and “bring working professionals with wide-ranging expertise” to work with students. The cartoonist, a graduate of Evergreen State College in Washington, makes an annual $50,000 donation to UCLA to help students who create socially conscious animated shorts. [The New York Times]
Legal | Attorneys for comics retailer and convention organizer Michael George, who’s serving a life sentence for the 1990 murder of his first wife Barbara, made arguments Monday on a motion for acquittal or a new trial — that would make George’s third — on the basis that there was insufficient evidence for conviction, and that the prosecutor raised a new issue in closing arguments. [Detroit Free Press]
Passings | British cartoonist Ronald Searle, best known as the creator of the fictional St. Trinian’s School, passed away Friday at a hospital near his home in southeastern France. He was 91. His spiky drawings of the wicked pupils of the girls school debuted in 1941 in Lilliput magazine, leading to five books and seven films. Searle, a Cambridge native, also co-authored (with Geoffrey Willans) the Molesworth book series. [Reuters]
Conventions | Four-day passes for New York Comic Con go on sale for $85 today at noon ET/9 a.m. PT. The event will be held Oct. 11-14 at the Jacob Javits Convention Center in New York City. [press release]
Conventions | Comiket, the world’s largest self-published comic book fair, drew a total of 500,000 people for its winter convention, held Thursday through Saturday at the Tokyo Big Sight in Japan. Held twice a year, in August and December, the event doesn’t use turnstiles or unique passes, so a visitor who attends all three days would be counted each time. [Anime News Network]
Comics | CNN covers the upcoming wedding of Archie Comics’ Kevin Keller, who will get married to another man in Life with Archie #16. Keller was injured while serving in the military in Iraq and Clay Walker, his groom-to-be, was his physical therapist. “Riverdale is this picturesque vision of American life, and when you see yourself reflected in that, you have a role in even the most idealized version of the reality you live in,” said Matt Kane, associate director of entertainment media for the Gay and Lesbian Alliance Against Defamation. “That’s the difference between feeling like a rejected outsider and feeling like you’re a part of something.” [CNN]
Comics | Jim Caple worries that viewers of the Tintin movie won’t appreciate it the way he does, comparing old-school Tintin fans to old-school Boston Red Sox or Seattle Mariners fans: “That’s what I worry about. I worry there will be all these Tintin wannabes who only know the character from the movie, who don’t appreciate Herge’s genius, who don’t know what it was like to wait a month for the next 10-page installment or when you had to special order the few books made available in America. Fans who didn’t earn this movie.” [ESPN]
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.
What’s that, you say? Paul Grist’s new Mudman series starts this week (#1, Image Comics, $3.50)? Well, that’s how I’m starting my $15 haul this week. While I’m at it, let’s add Avengers Origins: Luke Cage #1 (Marvel, $3.99) and Kirby Genesis: Captain Victory #1 (Dynamite, $3.99), before finishing up with the third issue of Wonder Woman (DC, $2.99) for a superheroic week that goes from the earth to the gods, with some blaxploitation and aliens thrown in the middle for flavor.
DC would dominate the other half of my budget if I had $30. I’d be grabbing the third issues of Green Lantern Corps, Justice League and Supergirl ($2.99 each, except Justice League for $3.99), but I’m surprising myself as much as anyone else by grabbing The Bionic Man #4 (Dynamite, $3.99) for my final pick – I read the first three issues in a bunch this weekend and really enjoyed the book to date much more than I’d been expecting.
Comics | Calling Tintin a “Catholic hero,” the Vatican newspaper L’Osservatore Romano took strong exception to the decision by U.K. publisher Egmont to sell the controversial Tintin in the Congo with a protective band around it — or, as the paper says, “wrapped up like a pornographic magazine and consigned to the adults-only section” of bookstores because of its portrayal of racial stereotypes. If you’re going to do that, the editorial argues, why not ban Boy Scouts, which were founded by notorious eugenicist Anthony Baden-Powell? “But then, he was English,” the paper snidely concludes. [Agence France-Presse]
Digital | ComiXology confirmed Tuesday that the Comics by Comixology app will be available for Amazon’s Kindle Fire when it goes on sale next week. ComiXology CEO David Steinberger said the company is prepared for the smaller screen size the Fire has, compared to the iPad: “Ah, well we’re lucky there, because our Guided View reading technology was designed first for a very small device — the iPhone — long before tablets became the norm. A great comics reading experience is one of the core reasons we’re so successful, and it translates great to all devices, from small to large. The Comics by comiXology reading experience is the same on all platforms, so it’s going to be very familiar to our fans. You can toggle in and out of Guided View with a simple double-tap. The Fire has a great screen, and for those pages that have lettering a little too hard to read, Guided View is a fun way to get in there and see the details.” [Chicago Sun Times]
Publishing | IDW’s Chief Operating Officer Greg Goldstein attributes a bump in the company’s September sales to several factors, including DC’s big relaunch: “The reality is the DC New 52 brought some people into comic book stores that hadn’t been in comic stores for a while, and we had the opportunity to sell them some of our books as well as the other books that are available to them. But clearly, people who had not been focused on comics came out of the woodwork a bit.” It didn’t hurt that IDW had its own launches of properties familiar to those outside of comics, including the new Teenage Mutant Ninja Turtles series, an ongoing Star Trek series and the Star Trek/Legion of Super-Heroes crossover. [ICv2]
Legal | A Belgian judicial adviser has recommended that the nation’s courts reject a four-year-old bid by a Congolese student to have Herge’s 1931 Tintin in the Congo banned, or at least restricted, because of its racist depictions. The recommendation is being viewed as a major setback for the case, as the opinion of the Procureur du Roi (Senior Crown prosecutor) is requested and typically followed by the court. [The Guardian]
The indispensable Dan Hipp has created a series of fake Tintin covers mashing the classic character together with movies like Alien, Star Wars, and Tron. And this isn’t even the coolest thing on his blog.
On any given week, reading Ben Towle’s Twitter feed or Oyster War Tumblr or his blog, I tend to take away some perspective of substance. And that’s what prompted me to do this email interview with him. Rather than explain what ground we tried to cover, I prefer to jump right into the interview, after thanking Towle for his time and thoughts. This interview was conducted prior to Towle’s Amelia Earhart: This Broad Ocean being nominated in the Eisner Best Publication for Kids category.
Tim O’Shea: When you started on Oyster War, did you expect that “publishers [would not]… be beating down my door to publish this weird, not-all-ages mashup of 20s newspaper comic strips and obscure (at least in the U.S.) French graphic novels“? Or has that been an unexpected, disappointing surprise?
Ben Towle: As far as my statement about publishers goes, I should clarify: no big publishing house is beating down my door to give me a publishing deal with a decent advance. And no, this doesn’t surprise me at all.
I guess I’ve gotten a reputation as a naysayer as a result, but I’ve always been quite dubious of the (in my opinion, very Pollyanna-ish) claim that the graphic novel as a literary/art form has “arrived.” I think if you look at what GNs for adults have gotten deals from big publishers, they’re almost exclusively very specific genres—usually memoir with some sort of an angle (historical, grave illness, identity politics, etc.)—-and that’s not the sort of thing I’m personally interested in doing comics about.
That said, I’m optimistic that once Oyster War gets to the point that it’s, say, 75% complete I’ll be able to shop it around to a specialty graphic novels publisher and find it a home. It would be nice if we got to the point that there’s a sizable enough audience for adult general fiction graphic novels to sustain the “living from advance to advance” model that successful prose authors can pull off, but until then, I’ll just continue to do what I’ve been doing: produce the work that I love doing and which I truly believe in, and hope to find some success with those projects on the back end.
In his latest post at The Comics Journal, Frank Santoro engages in a little bit of compositional analysis, explaining how an artist determines where the eye will fall, and what are the static and dynamic areas of the page, using a page from a Tintin comic, King Otokar’s Sceptre, to demonstrate the ideas in action. In this case, the components of the drawn comic line up so neatly with Santoro’s diagram that it’s hard to believe Herge wasn’t doing it deliberately.
I’m usually suspicious of after-the-fact dissections, because it’s easy to look at a completed work and see things the artist may not have put in deliberately. But Santoro says that Herge was probably aware of the technique, but that for some artists it just comes naturally, like playing music by ear. And just as the artist may use it unconsciously, the reader probably isn’t aware of it, observing only that some pages are more attractive or compelling than others. It’s useful to be reminded that such swift impressions are often born of painstaking planning. Sometimes you have to work hard to make it look easy.