Glenn is VP of Production at ComicMix. He has written Star Trek and X-Men stories and worked for DC Comics, Simon & Schuster, Random House, arrogant/MGMS and Apple Comics. He's also what happens when a Young Turk of publishing gets old.
Hey everyone! With so many nonprofits needing a helping hand during this crazy pandemic, today is a special #GivingTuesday! Itโs a day to shine a light on charities and remind us all to show them some love through donations (which, by the way, are usually tax-deductible).
If you have the funds and whant to help the comics community, consider these three organizations:
The Comic Book Legal Defense Fund receives more than a quarter of its annual budget in year-end gifts from supporters. But, that can change by helping donate on a special day like today!
All year round, the CBLDF boldly defends the right to read. Their tireless efforts confront the escalating censorship challenges faced by students, educators, and libraries, while providing an essential safety net for creators and retailers.
The CBLDF actively supports librarians, educators, and retailers in understanding their rights and ensuring books remain available on shelves. If you’re considering an organization to support, we strongly encourage you to acknowledge their invaluable work.
Donations to CBLDF are fully tax-deductible in the year they are made. Join the cause and empower CBLDF to continue their vital mission by making a donation todayโwhether itโs a holiday gift of a signed graphic novel, becoming a member, or contributing a tax-deductible cash donation.
Formed in 2000, the organization serves as a vibrant safety net for comic creators in need, empowering them to thrive. Transitioning to a not-for-profit in 2001, it has joyfully granted over $1,000,000 to countless comic book creators, celebrating their invaluable contributions and helping to shape the thriving industry we cherish today.
Hero builds a vibrant financial safety net for yesterday’s creators who may need emergency medical aid, support for life’s essentials, and a pathway back to fulfilling employment. It’s a wonderful opportunity for all of us to show our gratitude and give back to those who have brought us immense joy and inspiration.
Binc is a 501(c)(3) nonprofit devoted to supporting booksellers during their most challenging times. Born from the heartfelt desire of bookstore employees, the Binc Foundation aims to create a safety net for those facing unexpected financial difficulties. With compassion at its core, Binc is committed to being there for bookstore employees throughout the United States when they need it the most.
Binc’s help can change based on what retailers need. They’re all about lending a hand with costs like medical stuff or personal household expenses when certain situations pop up, such as:
If a bookstore worker gets sick and can’t make it to work.
If someone in a booksellerโs home gets sick and the employee has to quarantine to keep the virus from spreading more.
If a bookseller ends up losing over half their work hours because folks are told to stay home from work, or due to a mandatory quarantine.
September 27 is Local Comic Shop Day. This is according to the good people at ComicsPro. They are the retailer organization for comic shops across the country and around the world. On this day, participating comic stores are offering exclusive, limited-edition comics and collectibles, along with special events, creator signings, sales, and so much more.
You probably already know the role comic book shops play in our communities. These stores are more than just places to buy comics. They are cultural hubs where creativity thrives. Friendships are formed, and stories come to life.
To help support these small businesses that are the lifeblood of our industry, ComicMix is launching our own Store Locator to help you find one near you!
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We’ve got thousands of stores listed, and are working on improving it every day. If you’re a store owner, we’d love to have you aboard here and help people find you! Just take the time to fill out this form to add your store to our locator. We’ll get you listed as quickly as we can.
And if you don’t own a shop yourself, go and visit one today– you’ll be happy you did.
Today is Letterer Appreciation Day, chosen because itโs the birthday of Gaspar Saladino, one of the greatest comics letterers of all time. Letterers are the modern descendants of medieval scribes, illuminating manuscripts, doing a job that when done well is mostly unnoticed and certainly underappreciated. From the bold, dynamic lettering to elegant, intricate scripts, letterers craft the visual voice of countless mediums and make comics work. Their skill transforms static words into expressive art, conveying tone, emotion, and personality, all without uttering a single sound– just writing it down instead.
ComicMix and the David Family invite you to join us in celebrating Peter Davidโs life and legacy at San Diego Comic-Con 2025. We’re giving you several opportunities to do so…
While youโre on the exhibition floor, stop by the ComicMix Booth (#2308), where we will be selling the new release ofย Completely Howling Mad.ย This is a numbered hardcover edition, and limited to 500 copies.ย Completely Howling Mad reprints Peterโs 1989 novelย Howling Mad with his never before reprinted sequel novelette,ย Moonlight Becomes You.ย This is a Comic-Con 2025 exclusive, and all proceeds will go to the Davids.ย
Over the course of the weekend, we will be hosting a silent auction at the ComicMix Booth (#2308), where you can bid on many items, including the following:
โKolchak the Nightstalker: 50th Anniversaryโ art, page 12 of โThe Enemy Withinโ by JK Woodward. Materials: Gouache on 12×18โ coldpressed cotton paper.ย ย Hulk: โFuture Imperfect #1โ (written by Peter David) Color Production Art Page 11 (Marvel, 1993) by Tom Smith, with linework by George Pรฉrez. Materials: 12โx15โ illustration board, 9โx13โ Bristol board, watercolors, acetate, ink. This piece features George Pรฉrez linework on Bristol board, and Tom Smith watercolors. It is in Excellent Condition, and is autographed by both George Pรฉrez and Tom Smith.
There will also be books signed by Peter and various comics scripts available. We are also gladly accepting contributions to the auction. Please leave your donation at the ComicMix Booth (#2308), with a card listing its description, along with your name and contact information.
Bidding for all will be in-person only, and will close at 2pm Sunday. All proceeds will go to the David family.ย
All weekend, there will be a guest book at the ComicMix Booth (#2038) for people to sign and leave their remembrances of the Amazing, Incredible, Spectacular, Sensational (and other licensed adjectives besides)– and dearly missed Peter David.
And at 7pm on Saturday, July 26th, weโll be gathering in Grand 10 & 11 at the Marriott Marquis San Diego Marina for a panel titled, โPeter David: A Celebration of His Life, Work, and Legacy.โ
Weโre looking forward to gathering and sharing memories of the amazing โWriter of Stuff.โ Panelists will include comic legends, friends, and collaborators, such as Paul Levitz, George Takei, Mark Evanier, Chris Ryall, J. K. Woodward, and Glenn Hauman, and moderated by Maggie Thompson of Comics Buyerโs Guide.
Please come by and tell us your stories of the man who brought us so many of his own.
You may have seen the piece in Variety that America’s leading fanboy with a late night talk show Stephen Colbert is joining the team that is adapting Roger Zelaznyโs โThe Chronicles of Amberโ for television as an executive producer of the potential series under his Spartina production banner, joining with Skybound Entertainment and Vincent Newman Entertainment. โThe Chronicles of Amberโ follows the story of Corwin, a prince who awakens on Earth with no memory who soon discovers that he is a member of a royal family that has the ability to travel through different dimensions of reality and rules over the one true world, Amber.
The Variety article also notes: “The search is currently on for a writer to tackle the adaptation.” The story of Amber is complex and requires a writer who can navigate different worlds, characters, and timelines.
Stephen, bubullah, we have just the guy for you: John Ostrander.
If you don’t know John (and for the purposes of this column, we’ll say you don’t) he’s a highly accomplished and popular writer who has made significant contributions to the world of comics and fantasy literature (as well as contributions to this website) with particular advantages that make him just the guy for this job.
First and foremost, Ostrander knows his heroic fiction. He’s written for DC, Marvel, Star Wars, and is the creator of “The Suicide Squad,” the cult classic comic that has been adapted into two feature films and a television series. The series follows a group of supervillains who are recruited by the government to carry out dangerous missions in exchange for reduced sentences. This showcases Ostrander’s ability to create compelling and complex characters, a skill that would be invaluable in adapting “The Chronicles of Amber.”
In addition to “The Suicide Squad,” Ostrander also created the character GrimJack, a hard-boiled private investigator who operates in a dystopian interdimensional crossroads. GrimJack was so beloved by Roger Zelazny that Zelazny not only wrote the introduction to the GrimJack graphic novel Demon Knight (reprinted in GrimJack Omnibus 5, ahem), Zelazny bodily lifted GrimJack and included him in the seventh book of the Chronicles of Amber, Blood of Amber, as “Old John”, an emissary of the Crown of Amber who worked for both Random and Oberon. This shows Ostrander’s ability to create a character that resonates with fantasy audiences, and Zelazny’s stamp of approval is a testament to his talent.
Another reason Colbert should consider hiring Ostrander is his relationship with Del Close, who also happened to be Colbert’s improv teacher and director at Second City Chicago. Ostrander and Close were writing partners, and their collaboration resulted in the graphic horror anthology Wasteland for DC Comics and several installments of the “Munden’s Bar” backup feature in GrimJack. This connection not only highlights Ostrander’s versatility as a writer but also his ability to work well with others, which is essential in a collaborative medium like television.
In conclusion, Stephen, it should be obvious that you should hire John Ostrander for the adaptation of “The Chronicles of Amber” for television. His experience in writing media-friendly high fantasy, creating complex characters, and his connections to Zelazny and your former teacher make him an ideal candidate for you. Give him a call.
The Dr. Seuss Enterprises lawsuit against us is finally over.
In August 2016, we put up a Kickstarter for Oh, The Places Youโll Boldly Go!, a mash-up of Star Trek and Dr. Seuss to be written by David Gerrold, drawn by Ty Templeton, edited by Glenn Hauman, and published by ComicMix LLC later that year. DSE sent us a cease and desist letter on September 27, 2016. (Yes, the legal wrangling lasted longer than the Enterpriseโs original five-year mission.) DSE filed a DMCA motion to take down the Kickstarter campaign on October 7, and filed suit against us on November 10, 2016, alleging copyright infringement, trademark infringement, and unfair competition.
And yet, today weโre announcing that we and DSE submitted a proposed consent judgment for the suit, and that the Honorable Judge Janis L. Sammartino granted it on Friday, October 8, 2021 and closed the case.
Why? The simple truth isโ we ran out of time.
This past year, Ty was diagnosed with Stage 3 colorectal cancer. This has required him to undergo months of chemotherapy and radiation treatment, just to prepare him for the needed surgeryโwhich will then require weeks of recuperation until he recovers enough to go through six MORE months of chemo and radiation, and then MORE surgery after that. This has affected his ability to work, to draw, and to do any of the things an immunocompromised person shouldnโt do, especially in the middle of a global pandemic.
And the trial schedule would have been smack in the middle of all of that. After five years of sometimes ridiculous litigation and with the pre-trial deadlines looming, as Tyโs collaborators and friends, we refused to put him through any additional stress that could in any way impinge on his health and recovery. To the credit of the people at DSE, they didnโt want to put Ty through that either. So we joined in a motion to end the suit the day before Tyโs surgery, in order to alleviate the less serious pain in his ass so he can deal with the far more lethal and literal pain in his ass.
In the consent judgment, DSE concedes some of our defenses and we concede some of their claims. Unfortunately, the terms stipulate that even though the book is complete, we wonโt be able to present Oh, The Places Youโll Boldly Go! to you for another forty years, when the Dr. Seuss copyrights are set to expire and his books enter the public domain. (We can start taking preorders in January 2062, so set your calendar reminders now.)
We still passionately believe in and stand for creatorsโ rights, including fair use, and we still maintain that Boldly is a fair use that could not have harmed DSE in any way, now, five years ago, or in forty years. Unfortunately, the Ninth Circuit Court of Appealsโs view of fair use makes it very difficult to overcome a well-heeled copyright holding corporation if it wants to stand in the way (anyone who thinks โcorporations are peopleโ has never seen a corporation in a cancer ward) and they decided that the book was over the line. Weโre looking forward to the day when you can finally see the full book for yourself and make your own determination about itโuntil then, itโs like writing a book report by just looking at the cover, never seeing whatโs inside.
It has been a long five-year mission filled with many absurdities. At one point, Universal Pictures asked us to help promote โThe Grinchโ DVD release, so DSE could make more money to bash over our heads. At another point, DSE paid an โexpert witnessโ who got an artist to redraw our book in the most dreadful way imaginable, and then did a trademark survey asking shopping mall customers to compare Tyโs artful mix of Seuss and Trek with that hack job. Weโre still wondering how our book referencing a single illustration from How The Grinch Stole Christmas could have taken โthe heart of the work,โ as the Ninth Circuit Court of Appeals thought, when the illustration in question shows neither the Grinch, Christmas, or anything being stolen. And less than thirty-six hours after the Ninth Circuit reversed the fair use ruling, we got to watch Saturday Night Live air a sketch about the Grinch in a Whoville three-way, with nary a peep from DSE.
We’re also grimly amused about how we had to fight a fair use case while DSE’s own publisher, Penguin Random House, put out their own unauthorized parody, Oh , The Meetings You’ll Go To! (Although there is some question as to whether or not Meetings is officially sanctioned by Dr. Seuss Enterprises, as the copyright page of Meetings makes no mention of a DSE license, yet this since deleted tweet from Eric Nelson on August 4th, 2020 says otherwiseโฆ)
But when we were sued two days after Election Day 2016, we knew that letting anyone with lots of money, name recognition, and power have the ability to shut down even the gentlest of parodies and mildest of commentaries about them unchallenged was an extremely bad precedent to set for the futureโif for no other reason that we make up for one anotherโs biases by being able to criticize each other, whether we are childrenโs book authors or circuit court judges.
We can take satisfaction in many of the victories and precedents this case has set, including:
The Ninth Circuit made it explicit that mash-ups can be fair use. (Just not, apparently, ours.)
The District Courtโs summary judgment ruling held that there are no exclusive trademark rights in an artistic style, or a distinctive font or typeface.
In fact, the trademark infringement and unfair competition claims wound up a total rout. They were dismissed based on nominative fair use in 2017. DSE renewed them, and we won judgment on the pleadings over its claims about the bookโs title based on the Rogers/First Amendment test in 2018. We won the โthatโs not even a thingโ issue over the Seussian art style and typeface in 2019. And in 2020 the Ninth Circuit affirmed everything under Rogers and the First Amendment.
While weโre not entirely pleased with the caseโs outcome, we remember the words of historian Richard Hofstadter, who observed that sometimes people must โendure error in the interest of social peace.โ If we were ultimately unable to persuade the Ninth Circuit to reduce the amount of error involved in determining fair use for creators, weโve done what we can to forge a path for future fair use activists.
There are many people weโd like to thank for helping us go boldly, as we believe that, as our book says, no one goes forward alone. First and foremost: our lead attorney Dan Booth of Dan Booth Law, who fought the good fight with the strength of a hundred lawyers against a firm with four thousand lawyers. We also give thanks to Michael Licari, now in-house counsel at Veteran Benefits Guide, Dan Halimi, now at Halimi Law Firm, T.C. Johnston at Internet Law, Joanna Ardalan of OneLLP, who appealed our case to the Supreme Court, and Ken White of Brown White & Osborn LLP, who sent up the Popehat signal that brought us much needed assistance in the first place. And we thank Dr. Joshua Gans, our expert witness, who generously donated his time and testimony and worked under ridiculous constraints.
Weโd also like to thank the people who filed amici briefs taking our side:
Francesca Coppa, Stacey L. Dogan, Deborah R. Gerhardt, Leah Chan Grinvald, Michael Grynberg, Mark A. Lemley, Jessica Litman, Lydia Loren, David Mack, William McGeveran, Mark P. McKenna, Lisa P. Ramsey, Pamela Samuelson, Jessica Silbey, Rebecca Tushnet, Magdalene Visaggio, the Electronic Frontier Foundation, the Organization For Transformative Works, Public Knowledge, and their counsel Chris Bavitz, Mason Kortz, Phillip R. Malone, Meredith Rose, Eric Stallman, and Kit Walsh.
And weโd like to also thank Mike Gold, Martha Thomases, Brandy Hauman, Keiren Smith, Pam Hauman, Shann Dornhecker, Mark Treitel, Joshua Masur, Katherine Trendacosta, Heidi Tandy, Meredith Rose, Brian Jay Jones, Mike Godwin, Margot Atwell, Camilla Zhang, Oriana Leckert, Allison Adler, Michael C. Donaldson, Film Independent, the International Documentary Association, and Steve Saffel.
Weโd very much like to thank United States District Judge Janis L. Sammartino, who presided over our case with patience, fairness, wisdom, and thoughtfulness, and all of the staff that supported her.
And finally, weโd like to thank all of the Kickstarter backers who wanted to make this book a reality, all the supporters who helped cover (the start of) our legal expenses, and all of the journalists and scholars who followed and reported on our case. We are grateful for your generosity and faith, and are very disappointed that we canโt show you what youโve been waiting years to see. At least not yet.
For those interested, the case is Dr. Seuss Enterprises LP v. ComicMix LLC et al.,; case number 3:16-cv-02779 in the United States District Court for the Southern District of California, and case number 19-55348, in the United States Court of Appeals for the Ninth Circuit.
P.S.: Thereโs two more last minute โthank yous.โ The proposed consent judgment was submitted this past Tuesday, October 5. On Wednesday, October 6, Ty had his surgery, which went well. And on Thursday, October 7, two guys joined David and Glenn in sending get-well notes to Tyโa Mr. Shatner and a Mr. Takei.
John Paul Leon, groundbreaking artist on Static and Earth X, died Saturday after an 14-year battle with cancer at the age of 49.
He majored in illustration at New York’s School of Visual Arts, studying under artists such as Will Eisner, Walter Simonson, and Jack Potter. It was during this time that he received his first professional comics job, illustrating the Dark Horse Comics miniseries RoboCop: Prime Suspect (October 1992). By his junior year he was given the job as the inaugural artist on the DC Comics/Milestone ongoing series Static (June 1993), his first breakout work, which Simonson agreed would serve as Leon’s course work for that semester.
Michael Davis, Milestone Media co-founder and co-creator of Static, posted his thoughts in a video on Instragram: “I canโt breathe. Iโm a writer who canโt write about John now itโs too painful.”
https://www.instagram.com/tv/COZbEgvpEsX/
Collaborators and studio-mates Tommy Lee Edwards and Bernard Chang have set up a GoFundMe page to raise money for a trust for his daughter’s future education. Go there to read more about John and his legacy.
Our condolences to his family , friends, and fans.
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