Tagged: editorial

The Comic Book Wedding Program

  • News
  • July 30, 2008

scan0001-1-7536806Artist Dusty Higgins recently sent over what is pretty much the coolest thing since the wheel made of sliced bread: a wedding program drawn as a comic book.

Did I mention the bride and groom fight ninjas?

In addition to being an editorial cartoonist and illustrator, Dusty draws some comics. So, naturally, when his wedding was coming up this summer he asked his bride-to-be if he could draw their wedding program.

She agreed, surprisingly enough.

What you see at right is the result, the cover image as Dusty and his now-wife fend off attackers on their way up the aisle.

From what I’ve heard, the wedding went off without a hitch, or a ninja attack.

A larger image and inside pages after the jump.

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Getting Respect, by Dennis O’Neil

  • News
  • July 22, 2008

dark_knight_onesheet-795949-7861483Well, it is certainly a superheroic weekend here in New York, and maybe where you are, too. The latest Batman flick has already set one box office record and who knows what others it may yet conquer? The second Hellboy movie is still kicking box office butt. And a while ago, I was paging through the Arts and Leisure section of my Sunday New York Times when I saw a familiar face staring up at me from a photo: my old colleague Frank Miller, grim and determined looking. The accompanying story was about Frank’s writing and directing of The Spirit movie, based on work by yet another old friend, the late Will Eisner, produced by yet another old friend, Michael Uslan. (Good heavens! Whom don’t I know?)

Last week, the loyalists among you, if any, will remember that I strongly recommended a book titled The Ten Cent Plague, by David Hajdu. Since then, I’ve recommended it in conversation a couple of times, and may do so again. Damn good book. One of the points Hajdu makes is that comics were the outsider’s medium: the first bunch of creators and promoters were primarily Jewish, guys who had trouble getting work elsewhere. This is one of the reasons the Establishment may have felt threatened by the four-color trash sprouting from the newsstands like crab grass on a lawn; these were not their kind of people and who knows what kind of anarchy these grubbies might promote, given the opportunity? Decent folk practically had an obligation to put them in their place!

When I entered comics, about a quarter century into their history, the field was still dominated by outsiders, or anyway at least ex-outsiders. As for my cohorts… maybe one of the writers who came into comics at about the same time after I slithered in may have been destined for a respectable career in respectable institutions among respectable citizens, but the rest of us were hippie-rebel, anti-establishment types. If that hadn’t been true, why were we there? Comics publishing didn’t have an established career path, there didn’t seem to be really serious money to be made, at least at the editorial level, and Lord knows we weren’t reputable; only a decade or so earlier, our chosen endeavor had been crucified in magazines and on editorial pages and even in congressional hearings. We weren’t exactly bracketed with axe murderers, but you probably wouldn’t want your daughter marrying one of us.

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We Will Think For You, by Mike Gold

  • News
  • July 21, 2008

Here’s what I don’t like about politicians.

Well, actually, even Bill Gates doesn’t have the bandwidth to list all the things I don’t like about politicians – although I’m sure listing it all would generate some great comments. But here’s what’s at the top of my list.

Politicians who are partisan by definition feel completely comfortable speaking on behalf of the entire American public. Not just those of their political persuasion – which would be presumptuous – but everybody. Which is anti-democratic and pro-demagoguery.

Case in point: The Obama campaign felt compelled to issue a statement regarding cartoonist Barry Blitt’s cover to last week’s New Yorker magazine. The artwork speaks for itself, and is represented herewith. Entitled “The Politics of Fear,” the piece is supposed to be a satire of, well, the politics of fear as applied against the Obama campaign.

But the Obama campaign believes we’re too stupid to get it and feels compelled to pass moral judgment on behalf of us dolts. Their spokesman Bill Burton said “The New Yorker may think, as one of their staff explained to us, that their cover is a satirical lampoon of the caricature Sen. Obama’s right-wing critics have tried to create. But most readers will see it as tasteless and offensive. And we agree.” 


Never on to miss an opportunity to stick their right-wing noses in the air, McCain spokesman Tucker Bounds rose to the challenge with “We completely agree with the Obama campaign. It’s tasteless and offensive.”
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Viz Looking for New Properties

  • News
  • July 15, 2008

12901vizmedia_logo-lg-1795549Manga publisher Viz Media will be looking to take on new projects, and even possibly some non-Manga content, according to ICv2.

In a Q&A with Marc Weidenbaum and Eric Searleman, editor in chief and vice president respectively, ICv2 finds out more detail about these changes, and how they tie into Viz’s announced talent search at the San Diego Comic-Con.

Are you looking for manga-style properties?

If by "manga" you mean what is generally considered manga in the United States (fantasy and romance aimed at teenagers), then no. If by "manga" you mean what is meant by manga in Japan (a broad range of comics that emphasize serial storytelling, cliffhangers, reader feedback, a supportive editorial process, and a rich creator voice), then yes we are.

The story also addresses the difficulty in selling any non-Japanese content in the Japanese comics market:

Japan remains the toughest market for material from other countries to crack. But even that may be changing, as the U.S. subsidiary of the two largest manga companies in Japan begins its search for original comics. Viz Media’s Marc Weidenbaum, VP Original Publishing, and Eric Searleman, Senior Editor, the execs handling the search for original content answered in the affirmative when we asked whether there is American material that would sell well in Japan. “Certainly,” they said. “Both countries have their own rich, indigenous graphic-storytelling cultures. There are bridges yet to be built.”

(via Blog@)

Education, by Dennis O’Neil

Over the past few years, I’ve come to believe that not everyone gets the same education, even if schools and transcripts are identical. Some folk mentally compartmentalize: church goes here, family here, school stuff here, life in general there. So when they pass tests on what they’ve heard in classrooms, and at the end of a span of time, usually16 years and some august personage hands them a rectangle full of fancy lettering, they’re done with it. No more schooling, and no learning above what’s needed to live comfortably. Schooling in its compartment yonder, not touching this compartment, which is where we live.

That seems particularly true for liberal arts types, and vastly less true for engineers, doctors, dentists – students who go to the universities to acquire skills.

Although it’s been encouraged and enabled by the current “No Child Left Behind” calamity, which seems to be all about passing prefabricated tests and not at all about learning, this just pass the test attitude is not new. My favorite college professor, from whom I took at least six courses, told us that we’d better join the Book of the Month Club; if we didn’t, we’d probably never read another book after graduation. He was admitting that he wasn’t in the business of encouraging curiosity and a love of books and what’s in them. Rather, his task was just to help us grind through the requirements, pick up the sheepskin and…what? Remember to pay taxes. Don’t raise a fuss. Hang the sheepskin in the foyer, where visitors will see it.

The problem, I think, is this: There might be information over in the school compartment that is relevant to the contents of the living compartment. It might supply answers, or at least stimulate thinking.

Left in the ghetto of the school compartment, denied access to other compartments, and it is useless, and it will die. Worse, its lack might cause you to blunder.

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Women In Comics – Etta Hulme, by Michael H. Price

hulme-red-rabbit-02-7958746During 1992–1993, my newspaper-of-record became a sponsor of a traveling exhibition of art tracing the centuried history of editorial-opinion cartooning in Texas. Curators Maury Forman and Bob Calvert, seeking to preserve the display as a book, enlisted me to edit their program notes into manuscript form. The finished result, Cartooning Texas (Texas A&M University Press; 1993), has outlived the exhibition by a good many years – but of course could use an update by now.

One timely offshoot was that our expo-opening ceremonies involved such working cartoonists as Ben Sargent, of the Austin American-Statesman, and Etta Parks Hulme, of the Fort Worth Star-Telegram, in panel discussions and sketch-demonstration sessions that served to bring the exhibition into the here-and-now. Or the there-and-then, as it were. Etta and I officed within shouting distance of one another at the Star-Telegram, and I had been pressing the Powers That Did Be for a couple of years about devoting a Telegram-spinoff book to her cartoons.

The leverage of the exhibition proved sufficient, if only just, to encourage a Hulme book from the Star-Telegram. More of a pamphlet, actually, but it rounded up a fairly generous selection of ’toons, with a page for each piece. I had suggested that we call the thing Ettatorials, but the newspaper’s marketing office preferred UnforgETTAbly Etta. (more…)

Review: ‘Sex and Sensibility’ edited by Liza Donelly

sex1-3981535What do women want? Sigmund Freud thought he knew, but we all know about him. After a few decades of feminism, it’s become clearer that the best way to find out what women want is… to ask them.

Sex and Sensibility
Edited By Liza Donelly
Hachette/Twelve, April 2008, $22.99

Donelly is a noted single-panel cartoonist and the author of Funny Ladies, a history of female cartoonists for The New Yorker. (She also teaches at my alma mater, Vassar College, which instantly inclines me to consider her a world-class expert on whatever she wants to be – we Vassarites have to stick together.)

Donelly collected nine of her colleagues – mostly single-panel magazine cartoonists, with a couple of editorial cartoonists for spice – and asked them to contribute cartoons on women, men, sex, relationships – that whole area. Two hundred cartoons later, [[[Sex and Sensibility]]] emerged. It’s divided into several thematic sections — Sex, Sensibility, Women, Lunacy, and Modern Love — and each cartoonist provided an essay about herself and her work, which are sprinkled throughout.

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Review: ‘Bill Mauldin: A Life Up Front’

a-life-up-frontarticle-3552379In many ways, Bill Mauldin lived out the American Dream, starting out as a physically unimposing ‘desert rat’ in the southwest, then joining the army and becoming a star soldier-cartoonist, and retiring as one of the best known editorial cartoonists in the country. He died in 2003.

In his new biography, Bill Mauldin: A Life Up Front, author Todd DePastino takes that famous life and digs out all the strange truths, the contradictions, the unknown motivations. Mauldin was a deeply conflicted man, DePastino finds, alternatively successful and unhappy because of his deep drive for acceptance.

Born in 1921 to a rough and tumble family, Mauldin had little going for him as a child besides an aptitude for art. In his teens, he went to Chicago to study, but despite a prodigious output he had little success landing his cartoons.

With no other options (like many other enlistees), Mauldin signed up for the army and started cartooning for a service newsletter. From the start, his work focused on the lives of the grunts, who trudged through mud and faced the disrespect of superiors.

Using Mauldin’s writings, interviews and those cartoons, DePastino follows the young, driven man as he developed as a person and illustrator. And, soon enough, followed him over the Atlantic into the hell of World War II.

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Fleen on SPLAT! and ‘Webcomics: A Primer’

  • News
  • March 19, 2008

Over at Fleen, Gary Tyrrell has a great write-up of SPLAT!, the recent Graphic Novel Symposium, but his coverage of the "Webcomics: A Primer" panel is an infinitely interesting read.

Panel guests included Dean Haspiel, Raina Telgemeier, Rich Stevens, and Ted Rall, as well as Collen Venable, who moderated the event. According to Tyrrell’s report, the discussion hit all of the expected talking points regarding webcomics (what makes a webcomic, definition of webcomickers vs. cartoonists, etc.), but when the conversation turned to the conomics of online comics, well… let’s just say that it sounds like things got really interesting.

Rall jumped in with both feet:

 "If I were in charge of the world … I would force everything offline. All cartoonists, all newspapers, no more archives, nothing. And every cartoonist would make fifteen times as much money. Giving it away, I think it’s insane and stupid."

For those who remember the qualifications that Rall made at SPX last fall, where a similar statement was couched in terms of specifically editorial cartoonists, there was no such qualification this time. It was a blanket statement, and it was made while sitting next to one of the strongest proponents of a business model where you (quoting now) "Give away a ton of stuff, and edit down to things of value [that you can sell]."

And that’s not even the tip of the iceberg when it comes to Tyrrell’s excerpts from the discussion. While I can only assume that the discussion remained civil, it certainly reads as if participants were getting a bit heated in their debate regarding webcomic economics. Even better, the discussion seems to have moved to the comment section of Tyrrell’s post, where Rall, Stevens and a host of webcomic creators chime in with their thoughts on the webcomic business model.

For anyone interested in the webcomics scene, Tyrrell’s post — and the subsequent comment thread — are must-read material.

Review: Jughead’s Double Digest #138

So there I was, at Midtown Comics, one of New York City’s better-racked shops, trying to find something my wife was looking for. That’s the only way you could get me into a comics shop on a Tuesday, the day before the new stuff is put on the shelves. Since I was there, I looked at everything else as well… and came across [[[Jughead’s Double Digest #138]]], a beneath-the-radar book that some will find of note.

This is the issue before the beginning of their latest “new-look” story, this time drawn by my pals Joe Staton and Al Milgrom, so I gave it a second glance. Above the logo, in type too small to be visible in the reproduction I cribbed from Archie’s website, is the phrase “Collectors (sic) Issue Featuring Jughead #1, 1949.” The cover art promised a story where the 2008 Jughead meets up with his 1949 counterpart. The one who only owned one shirt.

Unless you’ve been scouring the ComicMix comments sections lately, it is possible you are unaware that the Archie line is one of the best-selling newsstand comics ventures of our time. In fact, since their digests are available at most supermarket checkouts, they provide an unparalleled portal into the world of comics. Because their content appeals to readers of all sexes and age groups, they appeal to a group Marvel and DC barely acknowledge: the younger reader.

I should point out that Archie is also the last of the publishing houses still controlled by the family of its original owners. That comes across quite clearly in their editorial content, which is quite respectful of its roots.

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