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Some of us have fantasized about going for a swim in a gold-filled vault like Scrooge McDuck, but Carl Barks fan Dennis Steppe put his time to better use: He built a painstakingly detailed model of the legendary money bin using LEGO bricks and Don Rosa’s blueprints. And it only cost a small fortune.
The artist discovered the impressive project while appearing over the weekend at Amazing Las Vegas Comic Con, where he signed one of the money bin’s exterior walls.
The famously miserly Scrooge McDuck always refused to buy his own newspaper, preferring instead to find one discarded on a park bench. It’s therefore awfully difficult to imagine the World’s Richest Duck parting with $3.99 for a comic book. Why, that’s almost 40 whole dimes!
Naturally, Uncle Scrooge isn’t the target audience for the debut series from IDW Publishing’s new line of Disney comics, but he is the star. Absent from new-comics racks since BOOM! Studios lost the license four years ago, floppy comics starring the original Disney cartoon characters are now making their return. This month brings us Uncle Scrooge #1 (which is also being parenthetically numbered as #405, keeping the original numbering), and each of the next three months will add another title: First Donald Duck, then Mickey Mouse and ultimately Walt Disney’s Comics and Stories.
It’s appropriate that they start with Scrooge, as he’s the rare Disney character who got his start in the comics and later transitioned to animated stardom, rather than vice versa. And, of course, Scrooge has been a fixture of American comics, the longtime subject of his creator, master cartoonist and storyteller Carl Barks.
All-New Doop (Marvel): It’s perfectly appropriate for any series starring peripheral X-Men character Doop to be a weird one, however, the miniseries collected in this trade paperback is weird in a weird way.
Doop was created by writer Peter Milligan and artist Mike Allred for their iconoclastic (and somewhat -controversial) 2001 X-Force run, which was then relaunched under the name The X-Statix. The premise involved a group of celebrity-wannabe mutants who used their powers for fame and fortune by starring in a reality show; holding the camera was a mysterious, gross, floating, potato-shaped green creature that spoke its own, indecipherable language and answered to the name Doop.
Milligan imagined a dramatic behind-the-scenes life for the character in a two-part, 2003 Wolverine/Doop miniseries, and writer Jason Aaron ran with the joke, including Doop as a member of the faculty at the Jean Grey School during his Wolverine and The X-Men run. For the most part, Doop functioned as a background joke, one more signifier of the zany environment of the new school for young mutants, though Aaron did pair with Doop’s co-creator Allred for a one-issue story that focused on the character as a behind-the-scenes, floating potato-thing-of-all-trades.
Milligan returns to the character for this miniseries, in which Allred only provides the covers, while David LaFuente draws the majority of the art. Milligan takes Doop’s behind-the-scenes portfolio to an extreme, marking him as a character capable of traveling through “The Marginalia,” entering and exiting the comic-book tales in order to influence their outcome.
The story Doop influences here is “Battle of the Atom,” the Brian Michael Bendis-helmed X-Men crossover that involved Cyclops’ X-Men team, Wolverine’s X-Men team and an X-Men team from the future engaged in a fight over what to do with the teenage original X-Men plucked out of the Silver Age and currently hanging around the present.
The publisher’s IDW Limited program, which produces small print runs of deluxe editions, will also offer select collections geared to Disney devotees, while the fledgling Micro Comic Fun Packs line will market multiple properties to a mass audience, complete with minicomics, stickers and posters.
In addition, IDW’s celebrated Library of American Comics will collect the newspaper strips that have featured Disney characters (there’s a long line of them, dating to the early 1930s with Mickey Mouse, Silly Symphony and, toward the end of the decade, Donald Duck).
“There’s nothing quite like Disney,” IDW Publishing CEO Ted Adams said in a statement. “Despite the fact that nearly all of the titles in its library were originally intended for kids, adult collectors have long sought high quality and regularly published collections of classic Disney material. IDW is thrilled to present these beloved stories in quality packages for both entry level comics readers and serious collectors alike.”
The publisher also announced it has expanded its partnership with Marvel for its Artist’s Edition line, which already includes such collections as Walter Simonson’s The Mighty Thor, John Romita’s The Amazing Spider-Man (Vol. 1 & 2), Steranko: Nick Fury, Agent of S.H.I.E.L.D. and the Marvel Covers Artist’s Edition.
To see what Greg and the Robot 6 crew have been reading, click below …
Libraries | A middle school library in New Brunswick, Canada, has been asked to remove Joann Sfar and Lewis Trondheim’s Dungeon series for review after the mother of a 12-year-old student complained about the depictions of sex and violence in one of the volumes. The CTV News reporter goes for the easy gasp by showing the scenes in question to a variety of parents, all of whom agree they don’t think the book belongs in a school library, and in this case the mom has a good point: The book received good reviews but is definitely not for kids. [CTV News]
Publishing | John Jackson Miller has been looking at the fine print in old comics — the statement of ownership, which spells out in exact numbers just how many copies were printed, how many were sold, etc. One of the highlights is Carl Barks’ Uncle Scrooge, which sold more than 1 million copies, making it the top seller of the 1960s. “It’s meaningful, I think, that the best-seller of the 1960s should come from Barks, whose work was originally uncredited and who was known originally to fans as ‘the Good Duck Artist,'” Miller concludes. “Fandom in the 1960s was bringing attention to a lot of people who had previously been unheralded, and Barks is a great example. He changed comics — and now comics were changing.” [The Comichron]
The publisher does the heavy-lifting of finding, formatting and even contextualizing the work of one of comics’ undisputed (and, in some way, unrivaled) masters and putting it all together in an easy to find and read source, making Barks’ influential work available to casual readers to either easily finally find out why The Good Duck Artist has the reputation he has, or to discover his work for the first time.
Before cracking the cover, I will admit there was one aspect I was a little leery about. Because so many of Barks’ stories dealt with the Ducks visiting exotic lands, because the stories in this collection were produced between 1948 and 1949 and because Disney doesn’t exactly have the most sterling reputation when it comes to representing diverse nationalities or ethnicities, I was sort of concerned about what the lily-white ducks would be faced with when they journeyed to South America or Africa. Or, more precisely, how Barks would present what they would be faced with.
Reading Will Eisner’s Spirit comics and being confronted by his Ebony White or Osama Tezuka’s work and seeing the various racial stereotypes that pop up in it can be a bit like finding a fly in your soup—by biting down on it. It’s great stuff, but there’s that extremely unpleasant moment you could have done without, you know? (Also, while I haven’t read it, it’s my understanding that Tintin may have had at least one less than politically correct adventure in the Congo).
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.
I’ll be honest: The first thing I’d do with my $15 this week would be to buy Ultimate Spider-Man #160 (Marvel, $3.99), just to finally see Peter Parker die. This storyline has seemed so drawn out and by the numbers that it’s pretty much killed my interest in the series, and I’m hoping that the final issue either has a last-minute turnaround that makes everything worthwhile, or else provides some weird karmic payback by finally living up to its title. Much less bloodthirstily, I’d also grab the first issue of David Hahn’s All Nighter (Image, $2.99), which rescues what was, I believe, a one-time Minx book and looks like an awesome mash-up of Stuart Immonen, Jaime Hernandez and, unexpectedly, Steve Rolston. In other words, pretty damn great. Finally, I’d pick up Brightest Day Aftermath: The Search For Swamp Thing #1 (DC, $2.99), for curiosity value if nothing else. I mean, John Constantine in a DCU book? How odd can that actually get?
Hello and welcome to What Are You Reading? Our special guest today is Nate Cosby, co-writer of the upcoming Image series Pigs and editor of the upcoming Jim Henson’s The Storyteller anthology, which will feature stories by an impressive group of talented creators.
To see what Nate and the Robot 6 crew have been reading lately, click below.
As BOOM! Studios says goodbye to their Disney/Pixar license, they say hello to another Disney book. In May, the same month that Marvel’s new Disney/Pixar Presents magazine hits stands, BOOM! will publish the first issue of a new DuckTales series.
The ongoing series will be written by Warren Spector, creator of the Epic Mickey video game, with art by Miquel Pujol. It’ll be set in the same continuity as BOOM!’s Darkwing Duck series.
“You want ducks? Oh, do we have ducks!” says BOOM! Studios Marketing Director Chip Mosher in a press release. “We’re taking you back to one of the most celebrated Disney Afternoon series ever aired! And with a creative powerhouse like Warren Spector and fantastic art from Miquel Pujol, this series is sure to be jam-packed with duck adventures no DUCKTALES fans will want to miss!”
DuckTales is based on the animated series of the same name that ran for 100 episodes from 1987 until 1990. It actually started its run before Disney created the “Disney Afternoon” block, predating Chip ‘n Dale Rescue Rangers, TaleSpin and Darkwing Duck, which was a spinoff of the show. Set in Duckberg, it starred Uncle Scrooge Launchpad McQuack, and Huey, Dewey, and Louie, with occasional appearances by Donald Duck, Gyro Gearloose and many other Disney characters.
You can find BOOM!’s press release, as well as a second cover for the first issue, after the jump.
Welcome to Food or Comics?, where every week we talk about what comics we’d buy on Wednesday 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 what we call our “Splurge” item.
Check out Diamond’s release list for this week if you’d like to play along in our comments section.
With $15 worth of dingy bills and loose quarters, I’d go my local comic shop and start with Thor: The Mighty Avenger #8 ($2.99). Probably the pick of the week in some circles (even for a square like me), it’s a celebration of what Langridge and Samnee accomplished – and although it’s the last issue, there’s that FCBD issue on the horizon. I’d also pick up two number ones -– Casanova: Gula #1 ($3.99) and Daredevil: Reborn #1 ($3.99). With my last $4, I’d be hard-pressed to pick between Thunder Agents #3 ($2.99) and Infinite Vacation #1 ($3.50), but would probably pick the latter –- Nick Spencer’s on both, but Christian Ward’s art makes Infinite Vacation #1 worth the buy.
In what is sure to be one of the most acclaimed comics events of 2011, Fantagraphics has announced that they will be publishing a definitive collection of Carl Barks’ seminal run of Donald Duck comic stories. In an exclusive interview with Robot 6, Fantagraphics co-publisher Gary Groth revealed that the company – which announced their plans to publish Floyd Gottfredson’s Mickey Mouse comics last summer – had acquired the rights to reprint Barks’ work from Disney and that the first volume will be released in fall of this year. The comics will be published in hardcover volumes, with two volumes coming out every year, at a price of about $25 per volume.
Although the stories will be printed in chronological order, the first volume, “Lost in the Andes,” will cover the beginning of Barks’ “peak” period, circa about 1948. The second volume, “Only a Poor Old Man,” will cover roughly the years 1952-54 and feature the first Uncle Scrooge story. Later volumes will fill in the missing gaps, including his earlier work, in a process somewhat similar to Fantagraphics’ publication of George Herriman’s “Krazy Kat.”
For those who aren’t familiar with the name, the Barks library has been one of the great missing links in a time that many have dubbed the “golden age of reprints.” Acclaimed around the globe for his rich storytelling and characterization, as well as excellent craftsmanship, Barks has long been regarded as one of the great cartoonists of the 20th century, equal to luminaries like Charles Schulz, Robert Crumb and Harvey Kurtzman. He’s been one of the few major American cartoonists whose work has, up till now, not been collected in a comprehensive, manner respectful of his talent (at least not in North America), however, so this announcement comes as extremely good news for any who read and love good comics, let alone are familiar with Barks’ work.
Fantagraphics will release an official announcement about the project tomorrow. In the meantime, click on the link to read our exclusive interview with Gary Groth:
If you’ve been thinking of heading to Italy and want to stay somewhere close to the water, Villa Comics has six rooms available with a private bathroom, air conditioning, TV, minibar and a comic book theme.
Located in the Gulf of Policastro – Cilento, “the theme is ‘comics,’” their website reads, “and each room is named after a comic character. There are room in honour of: Little Nemo, Tin Tin, Spiderman, Uncle $crooge, Corto Maltese, Spirit and Dylan Dog. Each room is decorated with a colourful canvas. Whether you’re a comic fan, or not, you’ll be enthralled by the attention to detail and the way in which ‘comics’ seeks to transport its guest into the world of fantasy to which each room has been dedicated.”
The proprietor, Gianfranco Martuscelli, is a cartoonist who wanted to combine his passions for comics and tourism.
Welcome once again to Send Us Your Shelf Porn! Today’s pictures come from Josh Latta, who collects classic cartoon and comic strip characters.
We can always use more shelf porn, so if you’d like to show off your collection, drop me a line.
And now let’s hear from Josh …
Someone please explain to me why, in this golden age of reprints, when every 20th century cartoonist under the sun and their dog is getting the lavish, fancy-shmancy book collection treatment, do we still not have a decent, definitive collection of Carl Barks’ work?