Tuesday, October 31, 2017
Creator Roye Okupe On Blending West African History and Mythology for Malika
Oct 12, 2017https://www.halloweencomicfest.com/Article/200334-Creator-Roye-Okupe-On-Blending-West-African-History-and-Mythology-for-Malika
reprinted with permission from Her Campus at Chatham
Like a lot of Bardugo’s work, Wonder Woman: Warbringer was set in a rich fantasy world with incredibly strong female characters—both physically and emotionally. The story begins on Themyscira with Diana trying to prove herself to her fellow Amazons. The plot begins right in the first chapter when Diana rescues Alia Keralis, the sole survivor of a shipwreck. Despite the action at the beginning, the book has a slow start.
I’ve always found Bardugo’s work heavy and hard to get into, and the same was true of this book. Despite the non-stop action, great characters, and witty banter, the entire book felt like I was slogging through just to know how the plot was resolved.
Diana and Alia were what really redeemed the plot for me. Diana is wide-eyed and curious as she is in the movie, but she’s also hesitant to really trust this new world. She has her mission and she plans to achieve it, then spends her time trying to get back to Alia.
Alia, on the other hand, is the daughter of two scientists who died in a car crash. Now her overprotective older brother is her guardian, and she’s constantly trying to get away from his control over her. She’s also dealing with racial tensions throughout the novel and tries to explain the history of racism and systemic disenfranchisement to Diana while they’re fighting for their lives.
There are also a lot of great supporting characters who end up on their journey with them. There’s Nim, Alia’s best friend, and a fashion icon. Theo, who is a washed up maybe-genius and harboring a bit of a crush on Alia, and Jason, Alia’s older brother, tag along for the ride as well.
Wonder Woman: Warbringer is a good book and would be great for fans of the movie or of Bardugo’s other works. It’s an excellent addition to the Wonder Woman canon in its own right and perfect to pair with the movie.
Monday, October 30, 2017
Library to Open "Drawn to Purpose: American Women Illustrators and Cartoonists"
Works From More Than 40 Artists Will Be Featured
October 27, 2017https://www.loc.gov/item/prn-17-165/
Original works by women cartoonists and illustrators are featured in a new exhibition opening at the Library of Congress on Nov. 18. Spanning the late 1800s to the present, "Drawn to Purpose: American Women Illustrators and Cartoonists" brings to light remarkable but little-known contributions made by North American women to these art forms.
In fields traditionally dominated by men, many women have long earned their livelihoods creating art intended for reproduction and wide dissemination in newspapers, periodicals and books. Women pursuing careers in the early days of the visual arts, as in nearly every other profession, encountered limitations in training, permitted subject matter and adequate work environments. A host of challenges and longstanding social restrictions in a traditionally male-controlled system impeded many from advancing in their chosen fields.
The selected works drawn from the Library's extensive collections highlight the gradual broadening in both the private and public spheres of women's roles and interests, addressing such themes as evolving ideals of feminine beauty, new opportunities emerging for women in society, changes in gender relations and issues of human welfare. "Drawn to Purpose" demonstrates that women, once constrained by social conditions and convention, have gained immense new opportunities for self-expression and discovery to share with growing, appreciative audiences.
The exhibition will feature nearly 70 works by 43 artists in two rotations during its run from Nov. 18, 2017, through Oct. 20, 2018, in the Graphic Arts Galleries of the Library's Thomas Jefferson Building, 10 First St. S.E., Washington, D.C. The exhibition will be free and open to the public Monday through Saturday, 8:30 a.m. to 4:30 p.m. Tickets are not needed.
The exhibition is made possible by the Swann Foundation for Caricature and Cartoon. An online version will be available to audiences nationwide at loc.gov on Nov. 18.
"Drawn to Purpose" is organized into seven sections: Themes and Genres; Golden Age Illustrators; Early Comics; New Voices, New Narratives; Editorial Illustrators; Magazine Covers and Cartoons; and Political Cartoonists.
Among the artists and works featured are Grace Drayton's wide-eyed, red-cheeked Campbell Kids, who debuted in 1909; Lynn Johnston's comic strip "For Better or For Worse"; Persian Gulf War editorial illustrations by Sue Coe and Frances Jetter; "Mixed Marriage" by New Yorker cartoonist Roz Chast; and work by best-selling graphic novelist Raina Telgemeier.
The Library will release a companion book, "Drawn to Purpose: American Women Illustrators and Cartoonists" by curator Martha H. Kennedy, in the spring of 2018. Featuring more than 240 eye-catching illustrations from Library collections, "Drawn to Purpose" provides additional insights into the personal and professional experiences of more than 80 artists. Their individual stories—shaped by their access to art training, the impact of family on their careers and experiences of gender bias in the marketplace—serve as vivid reminders of the human dimensions of social change during a period in which the roles and interests of women spread from the private to the public sphere. The hardcover volume is published in association with University of Mississippi Press and will be available for $50 in the Library of Congress shop, 10 First St. S.E., Washington, D.C. Credit card orders are taken at (888) 682-3557 or loc.gov/shop/ and bookstores nationwide.
The Library of Congress is the world's largest library, offering access to the creative record of the United States—and extensive materials from around the world—both on-site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov; access the official site for U.S. federal legislative information at congress.gov; and register creative works of authorship at copyright.gov.
The real reason Muhammad Ali converted to Islam
Join POLITICO as we walk you through some of today's biggest policy debates with the help of key facts, figures and a paint brush. Our animated video series pairs our expert reporters with Pulitzer Prize-winning cartoonist, Matt Wuerker, for a whole new way of looking at the news. First up, tax reform.
How does the U.S. tax system really work? Who pays what—and how does it all add up? And how do American taxes compare with international competitors? Watch to find out.
Who Pays What?
In $25 billion video game industry, voice actors face broken vocal cords and low pay [in print as Ashly Burch wants you to know her voice matters].
Sunday, October 29, 2017
Bring the whole family for a celebration of comic books and graphic novels with artists S.L. Gallant, Paulina Ganucheau, Kevin Panetta, Jason Rodriquez, and Ben Towle. Gallant presents his artwork of a familiar hero figure as he is the longest running artist on G.I. Joe: An American Hero. Ganucheau and Panetta co-authored Zodiac Starforce, starring comic high school girls taking on the darkness of the earth. Rodriquez shares his graphic novel, Colonial Comics: New England, 1750-1775, and his revolutionary idea for exciting young adults to learn about the history of colonial New England. And Towle introduces readers to the coastal town of Blood's Haven, with an ocean full oysters and even oyster pirates in his graphic novel, Oyster War.
Ben Towle: We have four esteemed guest and I’m going to do a quick intro for them. They are more established in the industry than I will make it seem like, because I want to get right to some content here.
Shannon Gallant, who also goes by S.L., has penciled for all kinds of publishers like Marvel, DC, Dark Horse and Titan. He is the long-running artist on G.I. Joe: A Real American Hero which is currently published by IDW. He is from Washington.
Kevin Panetta, also from Washington, is the co-creator of Zodiac Starforce, published by Dark Horse. His first graphic novel, Bloom, is coming out from First Second.
My first question is the standard question you’ll hear at almost any comics panel, which is: How did you get into comics? With most of us, myself included, there’s usually one book or comic strip or a specific reading experience which makes a light bulb go off in your head and you say, “This is what I want to do. This is my thing.” I’ve asked these guests if they can tell us what that book or comic was for them. I’m going to start off with Shannon.
One of the things they got me were the Power Record’s comic book combos. It was a comic book that came with a 45 rpm record. My dad being in the music industry meant everyone in the house had their own turntable, as you would. I used to play it for hours and the artwork … it was Batman and I just fell in love with it. The book itself was actually drawn by Neal Adams, who at the time was the biggest name in comics. I just assumed everything in the world was supposed to look like that, because that comic book was all I ever looked at. I just fell in love with his ability with figures, backgrounds, cars, everything… it seemed like everything looked like it should look. It had a realism that just sucked me into the story and I went through that thing so many times that the 45 ended up with a skip. Years later, I found an audio file that someone had made of it, and that skip wasn’t in it, and it was driving me nuts. I kept waiting for the skip. [audience laughs]. That was my first experience and from that point on, I was the “kid who is going to draw comic books one day. After my NFL career ends, I’m going to draw comic books.”
Kevin Panetta: I started reading comics when I was very young. My mom would go to the grocery store, and I wasn’t very interested in groceries, so I would hang out in the comics section and just read everything for free, like people do in Barnes & Noble now. I would read Spider-Man and X-Men and everything like that, but in my mind, those things just existed. They came fully formed out into the world, and nobody made them, and people didn’t work on them. But then I started reading Teenage Mutant Ninja Turtles and the creator’s names were above the title, and I became aware that Kevin Eastman writes it, and Peter Laird draws it. I thought, “Oh, that’s something I can do,” and I started following different artists. Because the Ninja Turtles comic was so weird, they had different artists who would draw everything so Jim Lawson was a little more realistic, and Mark Martin drew really cartoony things while Rick Veitch used a lot of blacks almost like a noir story. I became really aware of the different kind of stories you can tell in comics, all through Teenage Mutant Ninja Turtles. From there, I moved to following creators more than characters. When I was a kid I would just read Batman or Spider-man, but then I realized, “I like this writer Peter Milligan, or Neil Gaiman, so I want to see what he’s doing,” so when I was around eleven I became obsessed with different creators. And I wanted to make comics.
Ben Towle: Jason, you had some very specific issues related to historical fiction?
Paulina Ganucheau: It’s one-sided.