Category: News

Well, everybody else has the Avengers gag reel, so why not us? See Chris Evans, Robert Downey Jr., Chris Hemsworth, Tom Hiddleston, Gwynneth Paltrow, Jeremy Renner, Scarlett Johansson, Clark Gregg, Cobie Smulders, Mark Ruffalo, Samuel L. Jackson, and somebody named Joss and how they spent their summer vacation playing Avengers vs. Chitauri. Watch it now, and you’ll feel better for the entire day.

Gag Reel from “Avengers” by Flixgr

It’s just another average day of internet browsing. You’re doing your thing, checking the news, maybe taking a detour to your favorite webcomic. Then, WHAM (or rather, the internet version of said sound effect).

ERROR 451.

What happened? Did the servers overload? Did the connection crash? Is the address wrong?

No; this page has been burned.

Error 451 is a new HTTP Error status code proposed by Google developer advocate Tim Bray. The code would pop up the same way an Error 404 code does — except instead of being told a page could not be found, a viewer would be informed that the site is being censored.

The number is an homage to Ray Bradbury‘s Fahrenheit 451, which takes place in a dystopian future in which firemen burn books because the government has declared reading illegal.

According to Wired’s WebMonkey blog, the biggest advantage of the 451 code is that it would explain why content is unavailable — such as which legal authority is imposing the restriction. This would let visitors know that the government, not the Internet Service Provider, is the reason for the page’s malfunction.  Currently, 403 errors are most often used when blocking access to censored pages.

Error code 451 would pop up in situations such as the Indian government’s censorship of the site Cartoonists Against Corruption, which was blocked because its critique of the government was deemed “defamatory and derogatory.”

The biggest problem with the code, Bray admits, is that many governments are not fond of the idea of transparent censorship. So, if we’re lucky — or not? — this code may be popping up in our browsers in the future.

Please help support CBLDF’s important First Amendment work and reporting on issues such as this by making a donation or becoming a member of the CBLDF!Becca Hoekstra is studying journalism in San Francisco, California.

Everyone has their niche, their two inches of ivory that they work over so closely with a fine-haired brush. Some niches are larger than others — project manager, superhero artist, war apologist, social novelist — but they all bind, more or less, around the edges. Some artists fight against that niche, and some embrace it.

Guy Delisle is a cartoonist — originally Canadian, though resident in France for some time — whose niche is creating books about the strange foreign cities he finds himself living and working in. First was Shenzhen (see my review), about time spent working as an animation supervisor in that Chinese city. Then came Pyongyang (see my review), in which the same job took him to that very odd, constricted North Korean capital. And then there was Burma Chronicles(see my review), by which point Delisle had transitioned to a full-time long-form cartoonist, and was accompanying his partner (a Médecins Sans Frontières administrator) to the capital of the country that wants the rest of us to call it Myanmar. (Somewhere in between, he also published two books of unsettling, mostly sex-role related cartoons — Aline and the Others and Albert and the Others — which I also reviewed.)

Delisle’s work typically has a crisp, clean line — as one would expect from an animator working in France — with a good eye for detail and enough description and narration to allow the drawing to be simple; he doesn’t try to cram everything into either words or art.

Recently, Delisle’s wife was posted by MSF to Israel for a year, and so, eventually, that experience turned itself into his most recent book, Jerusalem. It’s larger and more diffuse than those previous books, over 300 pages long, and filled with lots of small stories about Delisle’s and his family’s life in a Palestinian neighborhood in East Jerusalem. (And that location is the first manifestation of what will be a major concern of Jerusalem: borders, both physical and mental, and how they interleave themselves, through walls and checkpoints and bus routes and roads and prejudices.)

Jerusalem doesn’t grapple directly with the legitimacy of the Israeli state, or of its treatment of Palestinians (or, conversely, with the actions of Palestinians and others against Israel), making it feel a bit politically naive at times. (Reading it in tandem with Sarah Glidden’s How to Understand Israel in 60 Days Or Less — see my review — would be interesting; Glidden was in Israel for a short time, on a tour, specifically as a tourist on a heritage tour designed to make her intensely pro-Israel, and intensively questioned the Palestinian situation, while Delisle lived in Israel for a year, mostly among vaguely pro-Palestinian expatriates, and lives the physical discomfort of the occupation without engaging with it on a theoretical level.)

Delisle’s job — besides writing books like Jerusalem — is a house-husband; he had two small children during that year, and just taking care of small children (even if they are in day-care part of the time) is massively time-consuming in ways that it’s hard to describe. When you wake up with a toddler, you get through the day somehow, and then wonder, at the end, what you actually did during the last sixteen hours. So Delisle isn’t as free to move around this year as he was in Shenzhen and Pyongyang — but, then again, those were shorter trips, so he had more time to immerse himself in Jerusalem (and, before that, in Burma), more time to live in those places rather than just passing through them.

Jerusalem is a discursive, rambling book, equally about daily life as an expatriate in East Jerusalem and the physical problems of just moving around so militarized and controlled a country [1] as it is about Delisle’s continuing attempts to sketch and draw and work on his cartoons when he has time away from his young children. It’s a long, looping story, circling back to those same few concerns — time to sketch, physical access, which day things will be open — and is more obsessed with time (the right day, the right time of day, enough time to do something while the kids are in day-care) than one would expect. Throughout, Delisle is an interesting and thoughtful guide to Israel, showing us the things he did and saw and thought, and what it was like to live in that place for that time. I expect some people will be unhappy at Delisle’s take on the Israel-Palestine situation — people on either end of that argument, because as much as he engages with it, he’s somewhere in the middle — but that’s an occupational hazard when you create books about your time in odd, contested, unlikely places. Delisle is always honest, and shows us what he sees and feels: you can’t ask for more than that.

[1] His partner was posted in Gaza for most of this trip, and the one crossing into Gaza is more tightly controlled than any other gate in Israel.

There have been a lot of parodies/mash-ups of that particular Liam Neeson soliloquy, but this one is quite clever and fun.

(Well, I think so, at least.)

Kickstarter is a topic that tends to get people worked up, both on the pro and con sides.  Call it what you want, Top Cow just pulled in six figures to relaunch Cyber Forcein what’s the biggest crowdfunding effort to date from a U.S. comics publisher (and #6 largest comics project to close on Kickstarter).

I occasionally compare crowdfunding to the days when artists had patrons who paid the bills and let the artists create.  That metaphor seems particularly apt here.  1,419 people pooled their resources to raise $117,135 which will fund 5 issues of Cyber Force with free distribution online and in print.  That averages out to roughly $82.50/person.  A very high average.

Kickstarter tells you the most popular pledge is in the $20-$25 range.  The most popular Cyber Force pledge level was the $50 level, which was also the hard cover graphic novel level.  622 people pledged there/ordered the hard cover and when you add in the higher premiums, it looks like somewhere in 800-850 range for various HC copies.  So while this wasn’t solely funded on the strength of the collected edition, around half of it probably was.

The gamble here is that by making the material freely available, Cyber Force will garner a big audience for issue #6, which would theoretically be a paid purchase.  Or perhaps they can do another Kickstarter for the next arc.  Either way, Top Cow rolled the dice on this one and came out of it getting what they wanted and a little bit more.

There’s a lot left to play out with this new variation on Kickstarting a comics project.  The material has to be produced.  Reactions gauged.  The plans for issue 6 and beyond formalized and executed.  The journey has just begun, but this is going to be fascinating to watch.  New rules apply and we’re not sure what those rules are yet.

We really are living in the future. Chicon 7, the 70th World Science Fiction Convention (Worldcon), and DragonCon, the leading multimedia and popular culture convention, will run joint programming through a two-way video link. Chicon 7 and DragonCon attendees will be able to sample the flavor of each other’s events through a series of program items featuring participants at each location. In addition, DragonCon will show a live broadcast of the Hugo Awards Ceremony from Chicon 7, while Chicon 7 will present a video (previously recorded) of the unique DragonCon parade on the streets of downtown Atlanta, which features over 3,000 costumes.

Details of the joint programming can be found on the Chicon 7 website at http://www.chicon7.org/dragoncon.php. Four shared program items have been scheduled for each day from Friday, August 31, to Sunday, September 2. Final details of program participants at each location will be added to the Chicon 7 website in the next week.