The Mix : What are people talking about today?

Tom DeFalco speaks!

Tom DeFalco speaks!

Marvel writer and former editor-in-chief sits for an exclusive ComicMix Podcast interview and talks about "the last true Marvel comic book" and long-time comics fan Gene Simmons becomes a comics publisher. Buffy #1 gets re-Buffed as lots of first printings sell-out.

All this plus TImeline, more news, and we dip into the ComicMix mailbag. It ain’t easy being green, except on St. Patricks Day – you’ll find out how on this weekend’s ComicMix Podcast, available by pressing this button right here:

Booty call, fandom style

Booty call, fandom style

Via Cheryl Lynn, yet another online meet-and-greet club has burst onto the scene with ambitions toward dispelling stereotypes about fans being weak in the social skills department.  This one’s called OtakuBooty, and specializes in bringing together "intelligent, funny, sexy" aficionados of Japanese animation, manga and gaming.

They claim, "Not all Internet communities are overrun by 13 year-olds arguing about DragonBall. Most OtakuBooty members are in their 20s and 80% of our members over the age of 18."  Which of course means a fifth are still legal minors. They continue, " OtakuBooty has a tight-knit community that has banded together for countless activities: a Full Monty-style fundraiser for Hurricane Katrina victims, raising money for a member who lost his apartment in a fire, and even clothing themselves in custom-made OtakuBooty hockey jerseys… And then there are the infamous parties."

Seems to me if you have that many underage members, you might want to be more careful about advertising Full Monty-style charity events and calling your parties infamous.

Comic Abstraction at the Museum of Modern Art

Comic Abstraction at the Museum of Modern Art

The good news is that a big name, first tier, grown-up institution, the Museum of Modern Art, is doing a show on comic art.

 

The bad news is that we’re still being nibbled to death by ducks; the show is a rather narrow view of the medium, a look at how 13 artists are using the visual conventions associated with comic art. Sometimes it’s one convention to a practitioner; sometimes they can handle as many as a half a dozen.

 

The Modern (www.moma.org) is spiffy enough to have an online exhibition, which can at least let you in on the main ideas. I don’t have to tell you the value of staring at a wall-sized painting vis a vis a reproduction on a screen, but in this case especially you can understand the ideas at work here. If you don’t buy the idea, then you can probably skip a trip to the show. It fits in one of their smaller temporary exhibition spaces, fewer than two-dozen pieces altogether in about four rooms, artfully arranged, like spaces in the primate habitat at the zoo to seem like a few more.

 

It took me a half hour to look at it closely, most people were in and out in less time than that.

 

The Museum feels the need to expand their scope to “slapstick, comic strips and films, caricature, cartoons, and animation.” This says, to me, that, they still need to add things to comic art to make a show. It also says they are still bedeviled by the use of “comic” to refer to both the medium and a point of view. They are in sight of the transcendent critical vision here: that comic art is a medium, not a genre.

 

But that’s their contribution to critical literature; the show makes a lot more sense looking at it than reading about it.

 

As usual, the artists are ahead of the museums. They know the comic artists have great powers, most of them have been reading comics all their lives, just like the rest of us, at least in the Sunday paper. They know a speedline from a thought balloon, clean line from brushwork. They have such respect for comic art technique that most of them don’t go near it, as such, exploring instead the equally wide seas of painting.

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Lawsuit happy

Lawsuit happy

It’s beginning to look like ComicMix needs a Lawsuit Watch correspondent.  Reuters has the details (hat tip to IESB).

On Thursday, two NY-based artists filed suit against NBC Universal and the creators of Heroes claiming the popular TV show stole one of their plotlines from them, basing it "on a short story, a painting series and a short film the couple exhibited in 2004 and 2005." The 2005 exhibit at Hunter College was attended by two people identifying themselves as writers from Crossing Jordan (also developed by Heroes creator/executive producer Tim Kring) and who were believed to have taken copies of the artists’ work, thus lessening the likelihood that coincidence is not causality.  As Heroes has tried to depict, nothing’s coincidence anyway.

Also on Thursday, Carol Burnett filed a copyright infringement suit against the makers of Family Guy over an episode shown last April featuring an 18-second sequence depicting a "slightly altered version" of her signature cleaning-woman character in a segment last April, basically saying they used the charwoman-clone without her permission. A 20th Century Fox spokesdroid responded that the references amounted to parody, which shouldn’t even need to be said.

ROBERT GREENBERGER: Super-Heroes D2DVD to your home!

ROBERT GREENBERGER: Super-Heroes D2DVD to your home!

We’ve spent the last few weeks looking at how Hollywood operates, optioning properties, including comic books, which they think might work as a movie or television series. With the success of 300, we also paused to examine how full the calendar was getting the next few years and wondered if a glut was coming.

If that’s the case, what alternatives might there be?

Television remains skittish with comic book properties despite the runaway success of Heroes. Beyond Smallville, there are no comics-related shows on prime time and none likely to be added to the 2007-08 schedule (to be announced in May). Cable, with dozens and dozens of channels, has one: Painkiller Jane on Sci-Fi.

Animated fare, either for Saturday mornings or weekday afternoons, has turned away from comic books for source material, preferring anime imports or original productions. The last handful of attempts have not been resounding successes such as the WB’s Legion of Super-Heroes.

But there are new signs of life in the still growing Direct to DVD market, a.k.a. D2DVD. Here, producers go for the familiar as they crank out sequel after sequel on shoestring budgets and churn them out like so much shovelware, clogging the shelves at mass merchandisers from Sam’s Club to Best Buy. In 2006, D2DVD releases generated $1.3 billion in revenue, and that’s expected to grow 5% to 7% this year, according to Variety.

This is fertile ground for all the comic book publishers but so far only the majors are exploiting it to the fullest.

The earliest releases were not from DC, but from Warner animation, starting with Batman: Mask of the Phantasm. The story worked and the look matched that of the successful Bruce Timm/Paul Dini animated series and played better than expected so got upgraded to feature film release. Unfortunately, the subsequent efforts: Batman & Mr. Freeze: Sub-Zero, Batman vs. Dracula and Batman: Mystery of the Batwoman fared less well both creatively and financially.

The nadir may have been hit last year when they rushed out the ill-conceived Superman: Brainiac Attacks which resembled neither the animated continuity nor the Superman Returns feature film. Both were played off on the Cartoon Network.

Fortunately, it came and went with little fanfare and was totally eclipsed last summer when DC announced they were finally working as full partners with Warner animation in creating animated adaptations of classic DC stories from the company’s rich and deep library.

The first four announced releases, for those who missed the news, are:

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R2D2 handles your mail

Yahoo News has blown the pants off the USPS’ latest promotional gimmick, as it teams with Lucasfilm on March 28th, the 30th anniversary of the release of the first Star Wars movie, to remake some mailboxes in a familiar image.

About 400 mailboxes in 200 cities across the country will be wrapped in a special covering to make them look something like the droid R2D2 (judge for yourself at right).

The post office isn’t saying which ones, but they have a somewhat tepid teaser about the event.

The pants references above?  If you’ve never played Star Wars Pants, you’re really missing something.  Let’s hope it’s not those trousers, or I’d find your lack of pants disturbing.

(And if you didn’t catch the Annie Leibovitz photos from the Star Wars edition of Vanity Fair two years ago, they’re making the rounds again… love the group shot!)

Estrogen month update

Estrogen month update

Maybe it’s because of Women’s History Month, or maybe it’s the time of (wo)man.  But for those of us who like to idealize (rather than fetishize or objectify) women superheroes, there’s a lot of good stuff online right now.

Besides getting their fill of Buffy and Wonder Woman, readers can linger over Alan Kistler’s exhaustive two-part profile of the Amazon princess (here’s part one and part two).  On the artistic end, Project Rooftop and GirlWonder.org are co-sponsoring Supergirl Week, featuring entries from last month’s Draw Supergirl online artfest. And in the area of personal epiphany, Marvel artist Brian Denham talks about his moments of revelation and self-education about drawing women in comics.  Even the lone woman character with a speaking role in the movie 300 gets a nice review/analysis from Purtek at the Hathor Legacy.

As ever, When Fangirls Attack is your best bet for links to posts on the worlds of super-females.

Jay Kennedy RIP

Jay Kennedy RIP

According to an announcement from the Hearst Corporation, King Features Syndicate editor-in-chief Jay Kennedy died yesterday while on vacation in Costa Rica. He was 50 years old.

"Jay had a profound impact on the transformation of King Features as a home for the best new and talented comic strip creators in the country," said Bruce L. Paisner, executive vice president, Hearst Entertainment & Syndication. "He was an extremely creative talent himself and we are indebted to him for all he did."

Kennedy joined King Features in 1988 as deputy comics editor and became comics editor one year later. He was named editor in chief in 1997. He previously served as cartoon editor of Esquire magazine,and was a humor book agent and a cartoon consultant and editor for magazines and publishers, including People. In 1985, Kennedy guest edited r the "European Humor" issue of The National Lampoon.

Kennedy wrote articles about the history of cartooning, and profiled cartoonists and contemporary comics for magazines including New Age Journal, Heavy Metal, New York, The IGA Journal, and Escape, an English bi-monthly. He was also the author of "The Underground Comix Guide," published in 1982.

Before graduating with a sociology degree from the University of Wisconsin at Madison, Kennedy studied sculpting and conceptual art at The School of Visual Arts in New York City.

I recall having corresponded with Kennedy on several occasions, probably asking some questions or other about women cartoonists at King Features, and always found him knowledgeable and pleasant.  ComicMix offfers our deepest condolences to his family and loved ones.

GLENN HAUMAN: John Scalzi for SFWA President

GLENN HAUMAN: John Scalzi for SFWA President

John has announced he’s a Write-In Candidate for President of the Science Fiction and Fantasy Writers of America and I’m supporting him, mainly for this:

"I don’t believe that Michael Capobianco, the fellow running for SFWA President, is at all the right person for the job. Let me note again that this is not a reflection on his personal character; I’ve not met him outside the online SFWA newsgroups and a few other online venues, so I cannot speak as to whether he is a nice guy or whatever. I’m sure he is. Likewise, Mr. Capobianco is a past president of SFWA and has won the organization’s service award, which suggests that in the past, at least, he has been viewed as a reasonable choice for leading the organization. The question in my mind is not his past service, of which I have no experience (it was before my time) but whether he’s the right person to lead SFWA forward now.

"I don’t think he is for two reasons. First, he hasn’t had a novel published in this century; his last published novel, White Light, which he co-wrote with William Barton, was published in hardcover in 1998. Essentially, he’s a decade out of practice with the practical aspects of publishing science fiction. This matters if one believes, as I do, that SFWA should primarily be a professional service organization; it particularly matters if one believes, as I do, that the publishing world in the 21st century, even this early on, is manifestly different than it was in the 20th century. I have books professionally published in both centuries; I know how much it’s changed, and I deal with the publishing world on a daily basis.

"Second, I believe that based on what I’ve read from him Mr. Capobianco is fundamentally afraid of the changing publishing world, and the changes in the world of speculative fiction, and that this fundamental position will cause him to make his tenure as SFWA backward-facing and defensive, rather than forward-thinking and innovative. This will make SFWA even more irrelevant to working writers — that is, the people who are shaping science fiction — than it already is.

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Bechdel goes to college

Bechdel goes to college

Alison Bechdel reports in her blog, "I just finished a two-day visit at Miami Dade College, sponsored by the Florida Center for the Literary Arts, where I talked  about Fun Home to a staggering array of classes, from Art to English to Human Growth and Development to The Graphic Novel." 

No fair, why couldn’t there have been Graphic Novel classes back in ancient times when I was in college?

Bechdel also spoke at the Gay-Straight Alliance meeting (whence this photo comes) and did a reading at the Broward County Public Library, which she details as one of her more interesting experiences in the Fun Home tour.  And speaking of libraries, she’s very happy to hear that the Marshall (MO) PL has voted to return Fun Home (as well as Craig Thompson’s Blankets) to their shelves, as are we.