Hirshhorn Films: An evening with David Polonsky
8 pm, March 26 in the Ring Auditorium. Free
Thursday, March 26, 2009
Craig Yoe Appearance at Politics & Prose
Craig Yoe, author of Secret Identity: The Fetish Art of Superman's Co-Creator Joe Shuster, will be doing a discussion and book signing at Politics and Prose on April 24, 2009 at 7pm.
Wednesday, March 25, 2009
Kal cartoons in Maryland Public TV documentary
They appear in Citizen Schaefer , a film about the former governor, according to this article.
Another award for Nate Beeler
Examiner cartoonist Nate Beeler apparently won first place for editorial cartooning in the Virginia Press Association awards - if this is the proper citation:
D3: Editorial cartoons
Place: 1
Name: Nate Beeler
Publication: The Washington Examiner
City: Washington
Subject: 20/20 Insight
Comments: Beautiful artwork, humor and message. Nate's cartoons are among the best in the nation.
D3: Editorial cartoons
Place: 1
Name: Nate Beeler
Publication: The Washington Examiner
City: Washington
Subject: 20/20 Insight
Comments: Beautiful artwork, humor and message. Nate's cartoons are among the best in the nation.
May 4: Art Spiegelman at the Corcoran
I've seen him give this talk before and it's good.
May 4, Monday 7 p.m. at the Corcoran
Art Spiegelman: Comix 101
Members $20; Public $25
Art Spiegelman has almost single-handedly brought comic books out of the toy closet and onto the literature shelves. His comics are best known for their shifting graphic style, their formal complexity, and controversial content. In 1992, his masterful Holocaust narrative Maus won the Pulitzer Prize, and Maus II continued the remarkable story of his parents' survival of the Nazi regime. The New York Times Book
Review listed Spiegelman's In the Shadow of No Towers among the most Notable Books of 2004. On this evening, Spiegelman takes the audience on a chronological tour of the evolution of comics all the while explaining the value of this medium and why it should not be ignored.
The Argentina Copello Dudley Memorial Lecture, established in 1984, supported by the Dudley Endowment Fund, presents distinguished speakers who have contributed significantly to our understanding of the arts.
May 4, Monday 7 p.m. at the Corcoran
Art Spiegelman: Comix 101
Members $20; Public $25
Art Spiegelman has almost single-handedly brought comic books out of the toy closet and onto the literature shelves. His comics are best known for their shifting graphic style, their formal complexity, and controversial content. In 1992, his masterful Holocaust narrative Maus won the Pulitzer Prize, and Maus II continued the remarkable story of his parents' survival of the Nazi regime. The New York Times Book
Review listed Spiegelman's In the Shadow of No Towers among the most Notable Books of 2004. On this evening, Spiegelman takes the audience on a chronological tour of the evolution of comics all the while explaining the value of this medium and why it should not be ignored.
The Argentina Copello Dudley Memorial Lecture, established in 1984, supported by the Dudley Endowment Fund, presents distinguished speakers who have contributed significantly to our understanding of the arts.
Tuesday, March 24, 2009
OT: Call for Papers--Graphic Novels in Libraries and Archives: Ideas and Issues.
Posted at Rob's request.
Call for Papers--Graphic Novels in Libraries and Archives: Ideas and Issues.
Graphic Novel publishing has exploded in the last decade. While, during the mid-1990s, it might have been possible for even a modestly budgeted library to acquire much of the published Graphic Novel output, now it is almost impossible even for libraries with big budgets to afford EVERYTHING published in this format. What was once considered a “cult” of devoted Graphic Novel readers and fans is now a part of the mainstream of readers. Graphic Novels is the one area of publishing that continues to grow year by year.
I am looking for essays that deal specifically with how libraries and archives have dealt with and are dealing with Graphic Novels in their collections. What are the various issues that have come up in regard to carrying Graphic Novels? What solutions, if any, did your library find?
Some of the topics that could be addressed in this book might include:
· Comics in Archives
· Real world issues in censorship of Graphic Novels - a case study on how a particular library or libraries dealt with challenged books
· How are academic libraries dealing with Graphic Novels?
· Promoting Graphic Novels collections in public libraries - Graphic Novel book clubs
· Problems collecting floppy comics in libraries and archives
· History of collecting comics and Graphic Novels in libraries
· Reaching out to Young Adults with Graphic Novels
· Senior library patrons and Graphic Novels - nobody has ever addressed this issue
· Graphic Novel - the term itself - problems with semantics for librarians?????
· Faculty who teach comics/Graphic Novels in other departments (say English/Sociology) and their relationship to their liaison librarian
· Graphic Novels in Libraries: Philosophical Issues
· Problems related to shelving Graphic Novels! Young Adult – Teen - Non Fiction - All Together?
· Manga/Anime vs. Superhero books in Libraries - Which is most popular?
· How to preserve Graphic Novels and comics in archives?
· Extending the shelve life of Graphic Novels in public libraries?
· How the boom of Hollywood movies, based upon graphic literature, affected library use.
· Metadata and Graphic Novels
· Web comics: implications for the library.
· History of comics in libraries
· The story of those Mexican/Spanish Photo novellas in libraries
· Any other topic related to Graphic Novels and libraries will be considered.
· META-DATA and Graphic Novels
Please send a 200 word abstract by April 31, 2009. Final due date for essays is June 31, 2009.
Final essays should be between 3,000-9,000 words long, including endnotes and bibliography, and should be done in Chicago Manuel of Style parenthetical with endnotes. Please keep in mind that these essays will be Peer Reviewed, and any essay that is not up to standard may not see final publication.
Please email me if you have any questions.
Rob Weiner
Humanities Librarian
Texas Tech University
Lubbock, Texas
Rob.Weiner@ttu.edu
Rweiner5@sbcglobal.net
Call for Papers--Graphic Novels in Libraries and Archives: Ideas and Issues.
Graphic Novel publishing has exploded in the last decade. While, during the mid-1990s, it might have been possible for even a modestly budgeted library to acquire much of the published Graphic Novel output, now it is almost impossible even for libraries with big budgets to afford EVERYTHING published in this format. What was once considered a “cult” of devoted Graphic Novel readers and fans is now a part of the mainstream of readers. Graphic Novels is the one area of publishing that continues to grow year by year.
I am looking for essays that deal specifically with how libraries and archives have dealt with and are dealing with Graphic Novels in their collections. What are the various issues that have come up in regard to carrying Graphic Novels? What solutions, if any, did your library find?
Some of the topics that could be addressed in this book might include:
· Comics in Archives
· Real world issues in censorship of Graphic Novels - a case study on how a particular library or libraries dealt with challenged books
· How are academic libraries dealing with Graphic Novels?
· Promoting Graphic Novels collections in public libraries - Graphic Novel book clubs
· Problems collecting floppy comics in libraries and archives
· History of collecting comics and Graphic Novels in libraries
· Reaching out to Young Adults with Graphic Novels
· Senior library patrons and Graphic Novels - nobody has ever addressed this issue
· Graphic Novel - the term itself - problems with semantics for librarians?????
· Faculty who teach comics/Graphic Novels in other departments (say English/Sociology) and their relationship to their liaison librarian
· Graphic Novels in Libraries: Philosophical Issues
· Problems related to shelving Graphic Novels! Young Adult – Teen - Non Fiction - All Together?
· Manga/Anime vs. Superhero books in Libraries - Which is most popular?
· How to preserve Graphic Novels and comics in archives?
· Extending the shelve life of Graphic Novels in public libraries?
· How the boom of Hollywood movies, based upon graphic literature, affected library use.
· Metadata and Graphic Novels
· Web comics: implications for the library.
· History of comics in libraries
· The story of those Mexican/Spanish Photo novellas in libraries
· Any other topic related to Graphic Novels and libraries will be considered.
· META-DATA and Graphic Novels
Please send a 200 word abstract by April 31, 2009. Final due date for essays is June 31, 2009.
Final essays should be between 3,000-9,000 words long, including endnotes and bibliography, and should be done in Chicago Manuel of Style parenthetical with endnotes. Please keep in mind that these essays will be Peer Reviewed, and any essay that is not up to standard may not see final publication.
Please email me if you have any questions.
Rob Weiner
Humanities Librarian
Texas Tech University
Lubbock, Texas
Rob.Weiner@ttu.edu
Rweiner5@sbcglobal.net
April 25: Library Workshop: Creating Graphic Novels
Aaarghh! Within blocks of me and I'll be at the History of Medicine meetings in Cleveland. I'll have to send the kid.
Workshop: Creating Graphic Novels
Sat Apr 25, 2009 1pm
Columbia Pike Branch Library, 816 S. Walter Reed Dr., Arlington, Va.
Learn the basic and finer points of creating graphic novels from Josh Elder, a graphic novelist and author of "Mail Order Ninja." Appropriate for students ages 10 and up. Contact mmiller@arlingtonva.us or call 703-228-5261 for more details.
And I'm missing the Library sale.
Workshop: Creating Graphic Novels
Sat Apr 25, 2009 1pm
Columbia Pike Branch Library, 816 S. Walter Reed Dr., Arlington, Va.
Learn the basic and finer points of creating graphic novels from Josh Elder, a graphic novelist and author of "Mail Order Ninja." Appropriate for students ages 10 and up. Contact mmiller@arlingtonva.us or call 703-228-5261 for more details.
And I'm missing the Library sale.
Matt Wuerker wants you to remember the Exxon Valdez oil spill 20 years later...
...and that seems reasonable to me. He says, "take two minutes to remember with John Nielsen's WWF piece, posted here on youtube - http://www.youtube.com/watch?v=MbjC9SMKClE - and pass it on...
KAL illustrations for Frontline tonight?
Today's NY Times has a KAL cartoon that they say is from the Frontline documentary "Ten Trillion and Counting" on tv tonight.
March 25: Library of Congress Swann talk on Nast
Coming up tomorrow!
Thomas Nast and French Art
The Topic of Swann Grantee’s Talk on March 25
Swann Foundation grantee Marie-Stéphanie Delamaire will present a lecture entitled, "The Artist as Translator: Thomas Nast and French Art,” Wednesday, March 25, 2009, at 12 noon, in the West Dining Room on the sixth floor of the James Madison Building, 101 Independence Ave. S.E., Washington, DC.
In her illustrated talk, Delamaire will examine American cartoonist Thomas Nast’s appropriation of the visual language used in prints and photographs of grand manner and history paintings in his political cartoons of the Civil War and Reconstruction eras. The analysis of Nast’s cartoons suggests that they functioned much like visual, cultural, and political translations of the era’s leading issues and articulated the cartoonist’s artistic identity.
Thomas Nast (1840-1902) began his career as a newspaper illustrator in the antebellum era for the growing illustrated press of the 1850s in New York. During the Civil War years, Nast developed a new style of large-scale cartoons that made extensive use of the visual vocabulary of old masters and contemporary French academic painters, particularly those whose works were reproduced in prints then being disseminated by the American branch of Goupil & Cie in New York. Nast referenced or alluded to specific French paintings as a means of capturing and engaging his viewers’ interest in major political developments of the day as seen in such cartoons as “Democracy” or “The Tammany Tiger Loose” (published respectively in Harper’s Weekly on November 11, 1865 and November 11, 1871). In so doing, Nast not only translated “facts into black and white,” as suggested by Clarence Cook (Putnam Magazine, July 1869), but also transformed history painting into a mass medium and appropriated the significance of foreign images into the American national or local political sphere.
Delamaire contends that looking closely at Nast’s cartoons demonstrates that the artist deliberately emphasized the discontinuity between the original painting and his final image in order to construct the cartoon’s underlying meaning. Nast’s translations of history paintings into cartoons can thus be seen to question the authority and priority commonly associated with the grand tradition of European history painting. Delamaire suggests that Nast’s appropriations reveal a shift from his role as a newspaper illustrator to that of a translator of fine art’s visual language mediating the political significance of foreign works of art widely
disseminated in print form to his American audience.
Delamaire is a Ph.D. candidate in Art History at Columbia University. Her dissertation project entitled, “Art in Translation: Franco-American exchanges in the Civil War and Reconstruction Era,” has been awarded a Terra Foundation Pre-doctoral Fellowship at the Smithsonian Institution and a Swann Foundation grant. Her research interests focus on transnational exchanges in relation to the development of reproductive technology in nineteenth century visual culture, the international art market and the emerging apparatus of international exhibitions. She completed a Master’s Degree in Egyptian Archaeology. She has published several essays on the American perception of ancient Egypt, the 1867 Paris Exposition Universelle, and the 1876 Philadelphia Centennial International Exhibition.
This presentation is part of the Swann Foundation’s continuing activities to support the study, interpretation, preservation and appreciation of original works of humorous and satiric art by graphic artists from around the world. The Swann Foundation’s advisory board is composed of scholars, collectors, cartoonists and Library of Congress staff members. The foundation strives to award one fellowship annually (with a stipend of up to $15,000) to assist scholarly research and writing projects in the field of caricature and cartoon. Applications for the academic year 2009-2010 are due Feb. 15, 2010. More information about the fellowship is available through the Swann Foundation’s Web site: www.loc.gov/rr/print/swann/swannhome or by emailing swann@loc.gov.
Thomas Nast and French Art
The Topic of Swann Grantee’s Talk on March 25
Swann Foundation grantee Marie-Stéphanie Delamaire will present a lecture entitled, "The Artist as Translator: Thomas Nast and French Art,” Wednesday, March 25, 2009, at 12 noon, in the West Dining Room on the sixth floor of the James Madison Building, 101 Independence Ave. S.E., Washington, DC.
In her illustrated talk, Delamaire will examine American cartoonist Thomas Nast’s appropriation of the visual language used in prints and photographs of grand manner and history paintings in his political cartoons of the Civil War and Reconstruction eras. The analysis of Nast’s cartoons suggests that they functioned much like visual, cultural, and political translations of the era’s leading issues and articulated the cartoonist’s artistic identity.
Thomas Nast (1840-1902) began his career as a newspaper illustrator in the antebellum era for the growing illustrated press of the 1850s in New York. During the Civil War years, Nast developed a new style of large-scale cartoons that made extensive use of the visual vocabulary of old masters and contemporary French academic painters, particularly those whose works were reproduced in prints then being disseminated by the American branch of Goupil & Cie in New York. Nast referenced or alluded to specific French paintings as a means of capturing and engaging his viewers’ interest in major political developments of the day as seen in such cartoons as “Democracy” or “The Tammany Tiger Loose” (published respectively in Harper’s Weekly on November 11, 1865 and November 11, 1871). In so doing, Nast not only translated “facts into black and white,” as suggested by Clarence Cook (Putnam Magazine, July 1869), but also transformed history painting into a mass medium and appropriated the significance of foreign images into the American national or local political sphere.
Delamaire contends that looking closely at Nast’s cartoons demonstrates that the artist deliberately emphasized the discontinuity between the original painting and his final image in order to construct the cartoon’s underlying meaning. Nast’s translations of history paintings into cartoons can thus be seen to question the authority and priority commonly associated with the grand tradition of European history painting. Delamaire suggests that Nast’s appropriations reveal a shift from his role as a newspaper illustrator to that of a translator of fine art’s visual language mediating the political significance of foreign works of art widely
disseminated in print form to his American audience.
Delamaire is a Ph.D. candidate in Art History at Columbia University. Her dissertation project entitled, “Art in Translation: Franco-American exchanges in the Civil War and Reconstruction Era,” has been awarded a Terra Foundation Pre-doctoral Fellowship at the Smithsonian Institution and a Swann Foundation grant. Her research interests focus on transnational exchanges in relation to the development of reproductive technology in nineteenth century visual culture, the international art market and the emerging apparatus of international exhibitions. She completed a Master’s Degree in Egyptian Archaeology. She has published several essays on the American perception of ancient Egypt, the 1867 Paris Exposition Universelle, and the 1876 Philadelphia Centennial International Exhibition.
This presentation is part of the Swann Foundation’s continuing activities to support the study, interpretation, preservation and appreciation of original works of humorous and satiric art by graphic artists from around the world. The Swann Foundation’s advisory board is composed of scholars, collectors, cartoonists and Library of Congress staff members. The foundation strives to award one fellowship annually (with a stipend of up to $15,000) to assist scholarly research and writing projects in the field of caricature and cartoon. Applications for the academic year 2009-2010 are due Feb. 15, 2010. More information about the fellowship is available through the Swann Foundation’s Web site: www.loc.gov/rr/print/swann/swannhome or by emailing swann@loc.gov.
Weingarten on his comic strip, and the Post's
Gene W from the March 23rd chat:
Silver Spring, Md.: Re: Doonesbury CPOW - that's one thing that has always impressed me about that strip - he always seems to have a character already in place for any news event or trend or whatever that comes up. He can pick up a character and put he or she in the event without any problem or stretch. He has Joannie working on the hill, BD was set for any "hostilities", Bernie was perfectly positioned to be a high-tech mogul, Boopsie ended up in the movie industry. I loved it when Mike's youngish techie-wife turned out to be the Vietnamese orphan who had been adopted into the US years before.
Gene Weingarten: Obviously, this is not coincidence. Garry has more active characters than any strip ever, probably by a factor of five.
The strip my son and I are working on -- look for it soon, I hope -- is going to start with about 16. Absurdly high for a new strip, nowhere near Dbury.
_______________________
New strip: When your new strip debuts, can it replace Peanuts?
If you were able to, say, accidentally slip the email address of the comics editor, perhaps it may result that he or she is bombarded with enough requests to get rid of Peanuts repeats that his or her loins will be girded sufficiently to withstand the few complaint letters that will be mailed (from people who I don't think would folow through on their threat to cancel their subscriptions).
Gene Weingarten: I am beginning to think that no one will ever have the courage to replace Peanuts.
_______________________
Washington, D.C.: AAAAAHHHHH! According to the notice on today's Style section, they're schwacking both "Pooche Cafe" and "Brevity" from the comics section. What's wrong with these people? They'll keep stale stuff like "Blondie," "Peanuts," "Mark Trail," "Family Circus," and "Dennis the Menace" but kill two of the comics that are actually, you know, funny? Isn't there anything we can do to stop this? AAAAAHHHHHH!!!
Gene Weingarten: They are also keeping Hagar the Horrible.
_______________________
Alex., VA: Do readers actually write in and support Peanuts?
Gene Weingarten: I don't know, but I doubt it. I think that newspaper comics deciders are loath to get rid of any strip so old that old loyal readers would miss it.
Very, very bad decisionmaking.
Silver Spring, Md.: Re: Doonesbury CPOW - that's one thing that has always impressed me about that strip - he always seems to have a character already in place for any news event or trend or whatever that comes up. He can pick up a character and put he or she in the event without any problem or stretch. He has Joannie working on the hill, BD was set for any "hostilities", Bernie was perfectly positioned to be a high-tech mogul, Boopsie ended up in the movie industry. I loved it when Mike's youngish techie-wife turned out to be the Vietnamese orphan who had been adopted into the US years before.
Gene Weingarten: Obviously, this is not coincidence. Garry has more active characters than any strip ever, probably by a factor of five.
The strip my son and I are working on -- look for it soon, I hope -- is going to start with about 16. Absurdly high for a new strip, nowhere near Dbury.
_______________________
New strip: When your new strip debuts, can it replace Peanuts?
If you were able to, say, accidentally slip the email address of the comics editor, perhaps it may result that he or she is bombarded with enough requests to get rid of Peanuts repeats that his or her loins will be girded sufficiently to withstand the few complaint letters that will be mailed (from people who I don't think would folow through on their threat to cancel their subscriptions).
Gene Weingarten: I am beginning to think that no one will ever have the courage to replace Peanuts.
_______________________
Washington, D.C.: AAAAAHHHHH! According to the notice on today's Style section, they're schwacking both "Pooche Cafe" and "Brevity" from the comics section. What's wrong with these people? They'll keep stale stuff like "Blondie," "Peanuts," "Mark Trail," "Family Circus," and "Dennis the Menace" but kill two of the comics that are actually, you know, funny? Isn't there anything we can do to stop this? AAAAAHHHHHH!!!
Gene Weingarten: They are also keeping Hagar the Horrible.
_______________________
Alex., VA: Do readers actually write in and support Peanuts?
Gene Weingarten: I don't know, but I doubt it. I think that newspaper comics deciders are loath to get rid of any strip so old that old loyal readers would miss it.
Very, very bad decisionmaking.
Monday, March 23, 2009
Cavna animator interview on Post website, so you don't have to buy the paper
"The Interview: Animator Bryan Brinkman," Michael Cavna, March 23, 2009.
Post dropping 6 comics, not 5
Today the Post reported that it's dropping 6 comics - adding "Brevity" to the list of "Judge Parker," "Little Dog Lost," "Piranha Club," "Pooch Cafe" and "Zippy the Pinhead" - and shrinking the comics pages to 2 instead of 3. Dilbert is moving back to the comics section as the Business section goes down the tubes.
Comments are invited at comics@washpost.com
I'm sure they'll be announcing a price increase any day too. You know - this pisses me off - I actually subscribe to the paper and pay to get it and its ads, and they keep taking out stuff I read, but still offering it free on the web. Nice business model. Perhaps Madoff gave lessons on running newspapers too.
And for god's sake, drop Peanuts rather than a living strip. I loved it, I buy the Fantagraphics collections, and I don't need it in place of a current strip.
[I just made the last two paragraphs the core of my letter to the Post]
Comments are invited at comics@washpost.com
I'm sure they'll be announcing a price increase any day too. You know - this pisses me off - I actually subscribe to the paper and pay to get it and its ads, and they keep taking out stuff I read, but still offering it free on the web. Nice business model. Perhaps Madoff gave lessons on running newspapers too.
And for god's sake, drop Peanuts rather than a living strip. I loved it, I buy the Fantagraphics collections, and I don't need it in place of a current strip.
[I just made the last two paragraphs the core of my letter to the Post]
Sunday, March 22, 2009
QUICK REVIEWS FOR COMICS DUE 03-25-09
QUICK REVIEWS FOR COMICS DUE 03-25-09
By John Judy
AMAZING SPIDER-MAN #589 by Fred Van Lente and Paulo Siqueira. Spidey’s old foe The Spot is breaking into the murder-for-hire biz. Don’t judge. It’s a bad economy and we’ve all gotta go where the work is.
AMERICAN JESUS, VOL. 1: CHOSEN SC by Mark Millar and Peter Gross. From the Department of Things That Can (and probably will) Go Horribly Wrong, it’s the story of a twelve year-old boy who discovers he’s the returned Jesus Christ with all the perks and liabilities. Did I mention it’s written by the guy who wrote ULTIMATES and KICK-ASS? Gotta look! (Especially if you’re from a right-wing fundie censorship organization!)
CAPTAIN AMERICA #48 by Ed Brubaker and Butch Guice. Bucky America, the Sub-Mariner and the Black Widow continue their unauthorized covert aggression against the Chinese super-scientist who done ‘em wrong. Guest-starring the original dead Human Torch.
DAREDEVIL #117 by Ed Brubaker and Michael Lark. Daredevil returns to his own comic book and the Kingpin returns to the Big Apple! DD’s and KP’s latest gal-pals just got all messed up so there’s bound to be some tension. Recommended.
IMMORTAL IRON FIST #24 by Duane Swierczynski and Kano. Bad as all get-out kung-fu mayhem as only an artist with one name can draw it!
MIGHTY AVENGERS #23 by Dan Slott and Khoi Pham. A new Avengers line-up is revealed in the traditional manner: Big Fight!
NEW AVENGERS #51 by Brian Michael Bendis and Billy Tan. As Sorcerer Supreme it appears ol’ Doc Strange just hasn’t been cutting the mustard as of late so it’s time for a big old magical Ruckus Royale to find a new one. Look for lots of gobbledy-gook, magic-looking letter fonts. Don’t strain your eyes, just assume it rhymes and sounds cool if Ian McKellen’s reading it.
THUNDERBOLTS #130 by Andy Diggle and Bong Dazo. Screw the comic book, don’t you wish your name was “Bong Dazo?”
TOP TEN SPECIAL #1 by Xander Cannon and Da Xiong. It’s a little courtroom drama in the City of Super-Heroes. Recommended even without Alan Moore scripting.
WOLVERINE SAGA #1 by No Credits. It’s the story of the fast-healing mutant Canucklehead James Howlett/Logan/Wolverine/Patch or whatever he’s calling himself today and get this: It’s Free. No charge. On the House of Ideas. You’d almost think there was a big-budget action movie someone was trying to promote…
WOLVERINE: FIRST CLASS #13 by Peter David and Ronan Cliquet. Okay, so “Ronan Cliquet” is no “Bong Dazo” but it’s up there. Are these the Sarah Palin kids nobody talks about?
www.johnjudy.net
By John Judy
AMAZING SPIDER-MAN #589 by Fred Van Lente and Paulo Siqueira. Spidey’s old foe The Spot is breaking into the murder-for-hire biz. Don’t judge. It’s a bad economy and we’ve all gotta go where the work is.
AMERICAN JESUS, VOL. 1: CHOSEN SC by Mark Millar and Peter Gross. From the Department of Things That Can (and probably will) Go Horribly Wrong, it’s the story of a twelve year-old boy who discovers he’s the returned Jesus Christ with all the perks and liabilities. Did I mention it’s written by the guy who wrote ULTIMATES and KICK-ASS? Gotta look! (Especially if you’re from a right-wing fundie censorship organization!)
CAPTAIN AMERICA #48 by Ed Brubaker and Butch Guice. Bucky America, the Sub-Mariner and the Black Widow continue their unauthorized covert aggression against the Chinese super-scientist who done ‘em wrong. Guest-starring the original dead Human Torch.
DAREDEVIL #117 by Ed Brubaker and Michael Lark. Daredevil returns to his own comic book and the Kingpin returns to the Big Apple! DD’s and KP’s latest gal-pals just got all messed up so there’s bound to be some tension. Recommended.
IMMORTAL IRON FIST #24 by Duane Swierczynski and Kano. Bad as all get-out kung-fu mayhem as only an artist with one name can draw it!
MIGHTY AVENGERS #23 by Dan Slott and Khoi Pham. A new Avengers line-up is revealed in the traditional manner: Big Fight!
NEW AVENGERS #51 by Brian Michael Bendis and Billy Tan. As Sorcerer Supreme it appears ol’ Doc Strange just hasn’t been cutting the mustard as of late so it’s time for a big old magical Ruckus Royale to find a new one. Look for lots of gobbledy-gook, magic-looking letter fonts. Don’t strain your eyes, just assume it rhymes and sounds cool if Ian McKellen’s reading it.
THUNDERBOLTS #130 by Andy Diggle and Bong Dazo. Screw the comic book, don’t you wish your name was “Bong Dazo?”
TOP TEN SPECIAL #1 by Xander Cannon and Da Xiong. It’s a little courtroom drama in the City of Super-Heroes. Recommended even without Alan Moore scripting.
WOLVERINE SAGA #1 by No Credits. It’s the story of the fast-healing mutant Canucklehead James Howlett/Logan/Wolverine/Patch or whatever he’s calling himself today and get this: It’s Free. No charge. On the House of Ideas. You’d almost think there was a big-budget action movie someone was trying to promote…
WOLVERINE: FIRST CLASS #13 by Peter David and Ronan Cliquet. Okay, so “Ronan Cliquet” is no “Bong Dazo” but it’s up there. Are these the Sarah Palin kids nobody talks about?
www.johnjudy.net
Another Batcave Companion interview
See "Batman in the '60s & '70s: 'The Batcave Companion'," By Zack Smith, Newsarama 20 March 2009.
Zadzooks and Bennett's Best
Zadzooks is on toys again - "Zadzooks: Predator: The Cleaner and Darth Vader's T.I.E. Fighter," Joseph Szadkowski, Washington Times Wednesday, March 18, 2009.
And Greg recommends some old DC, a new Vertigo title and Humbug -
"Bennett's Best for the week of March 15," By Greg Bennett, Zadzooks Blog March 20 2009.
"Bennett's Best for the week of March 8," By Greg Bennett, Zadzooks Blog March 19 2009.
And Greg recommends some old DC, a new Vertigo title and Humbug -
"Bennett's Best for the week of March 15," By Greg Bennett, Zadzooks Blog March 20 2009.
"Bennett's Best for the week of March 8," By Greg Bennett, Zadzooks Blog March 19 2009.
Saturday, March 21, 2009
Frederick's Mike Imboden interviewed
See:
Episode 89: Jimmy Gownley - Mike Imboden
Comixology's It Came Out On Wednesday blog March 11, 2009
In the sixth New York Comic Con 2009 special podcast, we're joined by Amelia Rules creator Jimmy Gownley and by Mike Imboden, creator of Fist of Justice from Digital Webbing.
Episode 89: Jimmy Gownley - Mike Imboden
Comixology's It Came Out On Wednesday blog March 11, 2009
In the sixth New York Comic Con 2009 special podcast, we're joined by Amelia Rules creator Jimmy Gownley and by Mike Imboden, creator of Fist of Justice from Digital Webbing.
Wuerker to speak in Lebanon Valley
According to their website:
Cartoonist to Examine the Funny Side of Terror at LVC's Colloquium
Political cartoonist Matt Wuerker will look at The Funny Side of the Age of Terror as part of Lebanon Valley College’s Age of Terror Colloquium. He will speak on Friday, April 3 at 7 p.m. in LVC’s Zimmerman Recital Hall in the Suzanne H. Arnold Gallery. His talk is free and open to the public.
Wuerker will ask: “Do we have to be terrorized? Given all the troubles and tensions of the world perhaps humor is a better response.” Wuerker, a cartoonist for politico.com, will make his case that the war on terror might best be waged with satire. “Besides helping us not lose our own minds and own civil liberties, perhaps humor is the best response to those that would make us into monsters,” he believes. “Laughter can be disarming, and in many ways it is the most civilized way to attack those people that despise our civilization. Besides, if we turn them into jokes it will drive them crazy.”
Cartoonist to Examine the Funny Side of Terror at LVC's Colloquium
Political cartoonist Matt Wuerker will look at The Funny Side of the Age of Terror as part of Lebanon Valley College’s Age of Terror Colloquium. He will speak on Friday, April 3 at 7 p.m. in LVC’s Zimmerman Recital Hall in the Suzanne H. Arnold Gallery. His talk is free and open to the public.
Wuerker will ask: “Do we have to be terrorized? Given all the troubles and tensions of the world perhaps humor is a better response.” Wuerker, a cartoonist for politico.com, will make his case that the war on terror might best be waged with satire. “Besides helping us not lose our own minds and own civil liberties, perhaps humor is the best response to those that would make us into monsters,” he believes. “Laughter can be disarming, and in many ways it is the most civilized way to attack those people that despise our civilization. Besides, if we turn them into jokes it will drive them crazy.”
April 1: Barry Kitson Signing at Cards, Comics & Collectibles of Reisterstown, MD
Barry Kitson Signing at Cards, Comics & Collectibles of Reisterstown, MD
REISTERSTOWN, MD - MARCH 18, 2009 - Barry Kitson, artist of Marvel Comics' Amazing Spider-Man, will appear at Cards, Comics & Collectibles of Reisterstown, MD on Wednesday April 1, 2009. No joke!
Barry, whose work on Amazing Spider-Man includes the first story in the best-selling "Obama issue" #583, has had his work published in many titles, including runs on Marvel's The Order and Secret Invasion: Fantastic Four and DC's Legion of Super-Heroes, The Titans, and Empire.
The signing will be held on Wednesday, April 1, 2009 from 3pm to 7:30pm. Our address is 100 A Chartley Dr., Reisterstown, MD 21136. For more information, call Cards, Comics & Collectibles at 410-526-7410.
May 1st starts our 25th year!
REISTERSTOWN, MD - MARCH 18, 2009 - Barry Kitson, artist of Marvel Comics' Amazing Spider-Man, will appear at Cards, Comics & Collectibles of Reisterstown, MD on Wednesday April 1, 2009. No joke!
Barry, whose work on Amazing Spider-Man includes the first story in the best-selling "Obama issue" #583, has had his work published in many titles, including runs on Marvel's The Order and Secret Invasion: Fantastic Four and DC's Legion of Super-Heroes, The Titans, and Empire.
The signing will be held on Wednesday, April 1, 2009 from 3pm to 7:30pm. Our address is 100 A Chartley Dr., Reisterstown, MD 21136. For more information, call Cards, Comics & Collectibles at 410-526-7410.
May 1st starts our 25th year!
March 23: Chabon at GWU
From GWU's English Dept blog (!)
Thursday, February 26, 2009
For Your Calendar: Chabon and Jones (March 23)
The author of The Yiddish Policemen's Union, Wonder Boys, The Amazing Adventures of Kavalier and Clay, Summerland, The Mysteries of Pittsburgh -- and MORE -- will read from his work and then be interviewed live by Professor Faye Moskowitz.
Michael Chabon will be introduced by Edward P. Jones, GW's first Wang Professor of Contemporary Literature.
The event begins at 7 PM on Monday March 23 in the Jack Morton Auditorium, and is followed by a book signing for both Chabon and Jones. Free and open to all who wish to attend, but seating is on a first-available basis.
The auditorium is in the School of Media and Public Affairs, 805 21st Street, NW Washington, DC 20052
Thursday, February 26, 2009
For Your Calendar: Chabon and Jones (March 23)
The author of The Yiddish Policemen's Union, Wonder Boys, The Amazing Adventures of Kavalier and Clay, Summerland, The Mysteries of Pittsburgh -- and MORE -- will read from his work and then be interviewed live by Professor Faye Moskowitz.
Michael Chabon will be introduced by Edward P. Jones, GW's first Wang Professor of Contemporary Literature.
The event begins at 7 PM on Monday March 23 in the Jack Morton Auditorium, and is followed by a book signing for both Chabon and Jones. Free and open to all who wish to attend, but seating is on a first-available basis.
The auditorium is in the School of Media and Public Affairs, 805 21st Street, NW Washington, DC 20052
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