Axel-In-Charge: Facing the 'Divided' Marvel NOW! Future
Legal | A Belgian court of appeals has ruled that Tintin in the Congo is not racist and stated that the book has “gentle and candid humour.” The ruling came in a case brought in 2007 by Bienvenu Mbutu Mondondo, an immigrant from the Congo, and the Belgian Council of Black Associations. Although Herge himself expressed regret in later life for the book, which includes numerous depictions of black characters as stupid and inferior, the court did not support the plaintiffs’ claim that “The negative stereotypes portrayed in this book are still read by a significant number of children. They have an impact on their behaviour.” [Sky News]
Hello and welcome to What Are You Reading? Today our guest is Mark Sable, the writer and co-creator of Image’s Graveyard of Empires with Paul Azaceta and the upcoming Duplicate from Kickstart Comics with Andy MacDonald. You can find his work and thoughts at marksable.com and contact him @marksable on the Twitter.
To see what Mark and the Robot 6 crew have been reading, click below …
First of all, we need to think up some new terms to distinguish journalism done via comics — as practiced by, say, Joe Sacco — from journalism about comics. Suggestions gleefully accepted!
Whatever we call it, sequential-art reporting is definitely coming into its own, and we have the links to prove it. For starters, here’s a video of the Comics and Journalism in a New Era panel at Comic-Con International, moderated by Publishers Weekly comics editor Calvin Reid and featuring a stellar lineup of Susie Cagle (who
has been involved in as well as reporting reported* on Occupy Oakland), Andy Warner, Stan Mack, Ed Piskor, Dan Carino and Chris Butcher.
The other day, Graeme McMillan asked why there are no news comics about the riots in the UK—he thinks that the immediacy of comics is exactly what is needed to fully convey a situation like this.
David Ziggy Greene’s comic What the F*** Just Happened? is a report from the scene, not a dispatch from the thick of the riots but a stroll through the aftermath. The comic includes a piercing insight into what the riots were all about, at least in one one shop in one neighborhood. On the other hand, Tom Humberstone accompanies his image of Londoners rebuilding with a blog post that argues that there are no simple answers to why the riots happened. Sally Jane Thompson also posts an illustration inspired by the riots, this one much more abstract in its concept than the other two.
Martin Rowson responds with an editorial cartoon.
(First two links via The Forbidden Planet blog.)