Publishers Weekly has the story. Reynolds is relevant to us because he wrote a Miles Morales Spider-Man YA novel. I recommend his books though, of which I've read half of them, even though I'm a middle-aged white man. I particularly like the ones set in the high school track world.
Monday, January 13, 2020
Kevin Panetta is writing Archie this spring
Here's a link to a preview of Kevin Panetta's, co-written with Mariko Tamaki, Archie 710. I just added it to my pull-list. Kevin's Bloom graphic novel made many of the 'best of' lists that just came out for 2019.
Underground cartoonist Steve Stiles has passed away
Steve Stiles, Falls Church, Virginia, Spring 1979. Kodachrome 25 by Jeff Schalles (from Wikipedia)
Sunday, January 12, 2020
Troy-Jeffrey Allen interviews Adam Warren
"Manga's approach to storytelling was much more forceful." The Adam Warren Story
Troy-Jeffrey Allen
PREVIEWSworld Jan 10, 2020
Saturday, January 11, 2020
ImageText's review of E.X.O.: The Legend of Wale Williams Part Two.
"Review of E.X.O.: The Legend of Wale Williams Part Two."
By
ImageTexT, vol 10, no. 1, 2018, n. pag. Dept of English, University of Florida.
The Post on videogame animation acting, 2020 graphic novels and superhero movie dancers
The hidden world and overlooked problems of acting in video games [in print as 'Wild West' of video game acting].
Washington Post Jan. 12, 2020 p. E2
Some graphic novels to read in 2020 [in print as 2020 begins with a rich blend of graphic storytelling].
Washington Post Jan. 12, 2020, p. E12.
These 18 movie stars are also amazing dancers. That's their real superpower. [superhero movies; in print as Their superpower: Dance].
Washington Post Jan. 12, 2020 p. E1, 9.
Flugennock's Latest'n'Greatest: "Media, Bloody Media"
From DC's anarchist cartoonist Mike Flugennock
"Media, Bloody Media"
http://sinkers.org/stage/?p=2908
Not even in the sickest depths of Iraq War v2.0 did I hear anyone in the media quite this wide-open raving, drooling and horny for war as ex-White House henchman and current right-wing radio howler Sebastian Gorka. Dude totally sails over the edge of the Earth, comes around the other side, proclaims the US to be a "hyperpower", then sails over the edge again on — who else but — Lou Dobbs' program on Fox Business.
The guy is scum to the bone — just check him out for a few seconds — but you still have to give him credit for having the sheer naked cajones to come right how and declare how horny he is for war in the public media. Dude's not even hiding it; big ups for that, at least.
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"Seb Gorka: 'We Should Welcome' Iran Attacks Because Trump Will 'Unleash Holy Hell'", Daily Beast, 01.07.20
https://www.thedailybeast.com/seb-gorka-says-we-should-welcome-iran-attacks-because-trump-will-unleash-holy-hell
"Media, Bloody Media"
http://sinkers.org/stage/?p=2908
Not even in the sickest depths of Iraq War v2.0 did I hear anyone in the media quite this wide-open raving, drooling and horny for war as ex-White House henchman and current right-wing radio howler Sebastian Gorka. Dude totally sails over the edge of the Earth, comes around the other side, proclaims the US to be a "hyperpower", then sails over the edge again on — who else but — Lou Dobbs' program on Fox Business.
The guy is scum to the bone — just check him out for a few seconds — but you still have to give him credit for having the sheer naked cajones to come right how and declare how horny he is for war in the public media. Dude's not even hiding it; big ups for that, at least.
--------
"Seb Gorka: 'We Should Welcome' Iran Attacks Because Trump Will 'Unleash Holy Hell'", Daily Beast, 01.07.20
https://www.thedailybeast.com/seb-gorka-says-we-should-welcome-iran-attacks-because-trump-will-unleash-holy-hell
Friday, January 10, 2020
Liz at Large's latest strip at the City Paper
Liz At Large: "Sun"
Don't forget to let the sunshine in.
Liz Montague
Jan 9, 2020
NY Times on Smithsonian-IDW partnership
Smithsonian to Bring American History to Life in Graphic Books
Thursday, January 09, 2020
Schoolhouse Rock animation singer Jack Sheldon dies
Jack Sheldon, Merv Griffin's trumpet-playing sidekick, dies at 88 [in print as Marv's sidekick, gravely voice of 'Schoolhouse Rock']
By Associated Press
Washington Post Jan. 9, 2020
Local cartoonist couple gets 3 book deal according to Publishers Weekly
Matthew Swanson and Robbi Behr's hybrid middle grade series Cookie Chronicles has been bought by Knopf. More details at Rights Report: Week of January 6, 2020 The two have been regulars at the Small Press Expo for years but I never got my act together for a long-delayed interview.
Feb 8: Almost American Girl | Robin Ha - Q&A ft. Keith Chow!
- Saturday, February 8, 2020 at 4 PM – 7 PM
PW on Smithsonian and IDW deal
IDW and Smithsonian Partner for Illustrated Books
By Karen Raugust
Jan 09, 2020
PR: Breathtaker Returns with Exhibition
Breathtaker Returns with Exhibition
Titan Comics, Norman Rockwell Museum, McDaniel College Team with Wheatley, Hempel for Remastered Classic
[Baltimore, Maryland] (January 9 2020) – The long-awaited remastered edition of Mark Wheatley and Marc Hempel's acclaimed graphic novel, Breathtaker, finally has a scheduled 2020 release date from Titan Comics. What's more, it has a brand-new companion comic and a wide-ranging traveling exhibit to go along with it.
With innovative projects like Mars, Jonny Quest, Tarzan, and Blood of the Innocent already behind them, writer-artists Wheatley (Radical Dreamer, EZ Street) and Hempel (The Sandman: The Kindly Ones, Gregory) turned their attention to another collaboration in 1990. Their resulting creation, Chase Darrow, is on the run. Both Chase and her mother had this crazy idea that the government should not be in the business of deciding how she should live her life. But now the NSA has set their lead agent on her trail. He is known only as The Man, and his toxic masculinity is as ramped up as his strength and agility. In a way, The Man is a symbol of just how frightened the government is of Chase. They don't see the nice girl who wants to be left to live her own life. They see someone who is either going to be a threat or an asset. They have given her the code name of Breathtaker. Call Chase Darrow what you want, but whatever the label, the truth is that she is a nice young woman who was born with the power to love a man to death. Chase Darrow might be the only real, living example of a succubus. Breathtaker is part horror story about a woman with the power to drain men of their very life force … part romance, because her lovers are her willing victims … part crime story, as Chase is on the run from a government that has branded her a criminal … and part superhero story: The Man, in addition to working for the NSA, is a popular television and merchandising figure who also happens to have extraordinary powers and abilities that he is using to hunt down and capture Chase in an effort to boost his sagging Nielsen ratings. Breathtaker is all about Love, Death, Sex and Power. Originally serialized as a four-issue, Prestige format mini-series, Breathtaker became a highly-praised, best-selling trade paperback for DC's Vertigo imprint.
Upon its original release reaction was strong and swift, in terms of both sales and critical acclaim. Sandman and American Gods creator and acclaimed novelist Neil Gaiman said, "Breathtaker proves itself something utterly odd and new. Powerful art, vibrant coloring, a new, quirky story told in a different way," and Thor and Ragnarok writer-artist Walt Simonson said, "Breathtaker is the sound of breaking glass in the morning, the smell of diesel oil in the afternoon, the frisson of violence in the evening, and the delight of love and death at night. This is why I read comic books." Since then, talents as diverse as Mark Waid, David Lloyd, Jason Minor, Barry Lyga, Jose Villarrubia, Mike Oeming, and Mark Buckingham, among others, have praised Breathtaker.
Now, in addition to the lavish, brilliantly restored Breathtaker graphic novel itself, Titan Comics will release Breathtaker: Make Way For the Man. The issue, ostensibly Make Way For The Man #138 (which was referred to in the original Breathtaker story), is the first all-new collaboration between Wheatley and Hempel in 20 years. Both will be featured in the March 2020 issue of Previews from Diamond Comic Distributors.
"Titan are thrilled to be able to be bring this outstanding title back into publication. We believe that both the remastered edition and exhibition will not only prove to be a joy of rediscovery for existing fans, but also bring a whole new generation of fans into the Breathtaker world," said Nick Landau, Publisher of Titan Comics.
Beyond the graphic novel and new comic from Titan, Wheatley and Hempel's Insight Studios Group will mount the "Breathtaker Exhibition," which was created by the Norman Rockwell Museum in Stockbridge, Massachusetts and will appear at McDaniel College in Westminster, Maryland. With more than 90 original works of art, the exhibition explores the creative and physical processes that were undertaken during the original production of the comic Breathtaker in the 1990s, as well as how the work was re-adapted, tweaked and in some cases reworked by the artists during the preparation stages for the Titan Comics re-release. Incorporating examples from all aspects of the creative process, the exhibition will offer the viewer the opportunity to experience story and character development; penciled, inked, and painted art; and samples of completed comic pages – that all are part of constructing a narrative in the comic format. The exhibition will be on view August 24, 2020 through October 30, 2020.
"This exhibition highlights a major work in the history of the graphic novel," said Martin W. Mahoney, Director of Curatorial Operations at Normal Rockwell Museum. "Breathtaker marks a major tipping point in the graphic novel, a point when major publishing houses were just beginning to see the power that these works could convey. A time when the major comic publishers DC and Marvel were starting to look at how they could invest in the graphic novel and add it to their respective lineups."
"McDaniel College is proud to serve as the premiere host of the Breathtaker Exhibition, which represents a chance to see up close the results of the creative chemistry and collaborative process between Mark Wheatley and Marc Hempel. This is a natural fit for McDaniel, having previously mounted a major exhibition exploring the serious side of newspaper comic strips, as it provides the opportunity to look behind-the-scenes at the process that gave birth to an award-winning graphic novel. The engaging mix of the art displayed will only further enhance the incredible story in the book," said Robert Lemieux, associate professor of communication and cinema, McDaniel College.
"It is gratifying to see an institution of the stature of the Norman Rockwell Museum and such a highly regarded college as McDaniel recognizing the legitimate power of comic art to communicate, entertain and explore social constructs and ideas. Without their strong and creative support, this exhibition would not be happening. The truth is, there are comic fans in every walk of life. And we shouldn't be surprised to find many of these fans working in the arts," said Mark Wheatley.
Wednesday, January 08, 2020
Peter Cannon: Thunderbolt
by RM Rhodes
2019 saw three sequels to 1986's Watchmen by Alan Moore and Dave Gibbons, one of the most seminal works in English language corporate super hero comics. One of those sequels was a live action television show on HBO. One of them was Doomsday Clock, the overt incorporation of the Watchmen characters into the larger DC comics universe. And one of them was Peter Cannon: Thunderbolt by Keiron Gillen and Caspar Wijngaard. Full disclosure: of these, I've only read the the latter, mostly because it was the only one of interest to me.
Since it's release, one of the things that made Watchmen stand out from the very crowded field of superhero comics was it's one-and-done status. There were no prequels, sequels, crossovers, or spin-offs (but plenty of parodies and homages). The corporate lore from DC Comics holds that the main reason for this was Paul Levitz, who was the president of DC comics from 2002-2009, although he had worked at DC Comics for 35 years in a variety of roles.
Three years after Levitz left, DC Comics announced that they were going to create a series of prequel comics that nobody was asking for. The prevailing theory was that the corporate overlords couldn't handle the fact that they had a very successful property on their hands that they hadn't fully exploited. The whole thing is a very sad cautionary tale about the work-for-hire nature of creating new characters for corporate super hero comics companies.
Each of the three sequels completely ignores this behind-the-scenes history. But only Peter Cannon: Thunderbolt actually attempts to grapple with the artistic legacy of Watchmen. Watchmen, for those who have never read it, is a formalist masterpiece, built around a nine-panel grid. Many creators have cited (or overtly copied) Watchmen in their own works over the years. Gillen takes aim at this aspect of the work and ruthlessly interrogates it, to astounding effect.
The original plan for Watchmen came from the fact that DC Comics had acquired a set of characters from Charlton (another comics publisher) and wanted Alan Moore and Dave Gibbons to do something interesting with them. Moore and Gibbons eventually created new characters based on the Charlton characters so that DC would have the option of doing something with the characters in the future. This gave Moore and Gibbons room to do something permanent without worrying that future continuity would reverse it - a surprisingly common occurrence in super hero comics.
For Peter Cannon: Thunderbolt, Gillen and Wijngaard uses those same Charlton characters (or rough analogs of the same), but based them on the variations that were created by Moore and Gibbons. It's a clever trick, one that skirts the whole "official sequel" issue (Peter Cannon: Thunderbolt was published by Dynamite, a comics company that has no connection to DC Comics) and, like the original decision made by Moore and Gibbons, gave Gillen and Wijngaard more room to maneuver.
Utterly unlike the intricate complexity of Watchmen, the plot of Peter Cannon: Thunderbolt really doesn't matter. The generic super hero tropes provide a series of events for the formalist commentary to sit on. From the very first panel on the very first page, the creators make it obvious that this work relies heavily on the reader's remembrance of Watchmen itself. In fact, there are several pages that are shot-for-shot replications of specific pages in Watchmen.
As the pages turn, this becomes even more explicitly a work aimed at insiders. Entire lines of dialogue are lifted (and mangled) from Watchmen for very specific reasons. And then, in the fourth episode, the title character lands in an a scene that is completely illustrated in black and white, an obvious and overt homage to the "slice of life" comics of Eddie Campbell, with whom Moore worked on From Hell. This gets even more explicit when Campbell himself shows up and tries to start a fight with the main character, who is still wearing his superhero outfit. The best part of this sequence is a cameo appearance from Moore himself.
Gillen proves that he's got a solid understanding of the formalism inherent in the nine-panel grid, as well as the metanarrative tricks that one can play with, if one has the inclination. And Gillen clearly has the inclination. His message is very clear: since it's publication, Watchmen has cast an oversized shadow on corporate super hero comics and, maybe, we might should find something different to fixate on. Any day now.
From a content perspective, I happen to think he's absolutely correct. The term "grim and gritty" came out of work like Watchmen and The Dark Knight Returns, which came out the same year. Grim and gritty superhero comics became a scourge on the marketplace in the 90s and are only now starting to peter out.
On the other hand, I'm not sure I agree with Gillen's thesis that maybe we should let the formalism of Watchmen go as well. The nine panel grid is a natural fit with the size and shape of a modern comic book page. Frank Santoro's Comics Correspondence Course preaches an eight panel grid because it removes the requirement for early creators to have to come up with a layout - effectively, one less decision to make. The argument for the nine panel grid is more or less the same, with the added benefit of giving the page the timing of a waltz - one, two, three, one, two, three, one, two, three. It is increasingly unlikely that such basic grids will ever really go out of style.
All in all, Peter Cannon: Thunderbolt is a very interesting piece of work. Unfortunately, it requires the reader to have a very deep familiarity with Watchmen to really "get" the point. Fortunately for the creative team, Watchmen is so ubiquitous that most readers have probably already done the prerequisite reading. It's ironic that Gillen would rely so heavily on the tropes in Watchmen to make the argument that it should not have the influence it currently has.
Peter Cannon: Thunderbolt was originally serialized in five issues. The collected edition, in hardcover, was released in early January of 2020. It's unclear why the collection was issued in hardback instead of the more common softcover, but this reviewer suspects that it had to do with capitalizing on the higher price point.
If you are a reader with fond memories of Watchmen, but are more interested in the formalist aspects of the work than the ongoing integration of the characters into the ongoing DC Comics universe, this comes highly recommended.
PR: IDW and Smithsonian Enterprises Announce Groundbreaking Graphic Novel Publishing Program
IDW and Smithsonian Enterprises Announce Groundbreaking Graphic Novel Publishing Program
 |
| Nate Powell art of the Castle, viewed from the Mall |
SAN DIEGO, CA (January 8, 2020) – IDW Publishing, a division of IDW Media Holdings Inc. (OTC: IDWM), and the Smithsonian Institution are proud to announce a multi-year global publishing program, which will create an unprecedented library of graphic novels built on the cultural and scientific knowledge of the world's largest museum, educational, and research complex.
Beginning in fall 2020, IDW and the Smithsonian will invite readers on a voyage of discovery with a comprehensive range of graphic books in a variety of formats. Among the planned product lines are: "Time Trials," a middle-grade graphic novel series inspired by the National Museum of American History video series; original graphic novels focused on landmark events and individuals, in the tradition of IDW's acclaimed March and They Called Us Enemy; coloring books in both the youth and adult categories; picture books for young readers; and more.
Drawing from the Smithsonian's vast holdings, which include some of the world's most popular museums, IDW will create exciting and unforgettable visual narratives for lifelong learners worldwide, produced by a close working relationship between experts at the Smithsonian and top talents from the world of graphic literature.
"The most energizing thing about working with the Smithsonian's curators, researchers, and zookeepers is that these are not just experts in their fields: they're storytellers," says Chris Ryall, IDW's President, Publisher, and CCO. "Together, we'll use the unique power of comics to entertain, inspire, and educate readers of all ages about the wonders of history, science, technology, culture, and more."
"We're excited to work with the IDW team and share the full breadth of the Smithsonian's extraordinary collections and research with readers around the world," says Carol LeBlanc, President of Smithsonian Enterprises. "We can't wait to see world-class writers and artists bring the Smithsonian mission to diverse audiences in innovative, accessible, and engaging new ways."
"Comics can communicate complex ideas in the blink of an eye," says Justin Eisinger, IDW's Editorial Director, Graphic Novels & Collections. "As our art form becomes increasingly central to the work of educators and librarians, this program presents a unique and important opportunity to align IDW's mission of quality graphic storytelling with the Smithsonian's quest to share information with curious minds everywhere."
"Award-winning books like March and They Called Us Enemy have demonstrated the massive potential of graphic nonfiction that's infused with literary richness, visionary artwork, and personal passion," says Leigh Walton, Editor and Marketing Director for IDW's Top Shelf imprint. "With the brilliant minds at the Smithsonian, I'm thrilled to apply those same values to explore untold stories and new frontiers around the world and throughout the universe."
IDW's books published in collaboration with the Smithsonian will be available everywhere books are sold, including comic book specialty shops, bookstores, libraries, museums, and ebook vendors. For continuing developments, please follow IDW online at www.idwpublishing.com and via our social media channels: Facebook, Twitter, Instagram, and Youtube.
About IDW
IDW Publishing stands proudly at the forefront of printed visual entertainment, cultivating a formidable library of world-renowned licensed brands and creator-owned original IP. Its diverse array of comic books, graphic novels, and art books deliver reading enjoyment to fans of all ages. Its award-winning imprints The Library of American Comics, Yoe! Books, and Artist Editions preserve the valuable cultural history of the sequential art medium, while titles under the critically acclaimed Top Shelf and Black Crown banners celebrate fiercely independent voices. IDW Publishing is a division of IDW Media Holdings, Inc. (OTC: IDWM), a fully integrated media company with robust offerings in publishing, tabletop gaming, multimedia entertainment, and art exhibition via the San Diego Comic Art Gallery. IDW products are distributed worldwide by Penguin Random House Publisher Services, Diamond Comic Distributors, and Alliance Game Distributors.
About the Smithsonian
Established in 1846, the Smithsonian—the world's largest museum, education, and research complex—includes 19 museums and galleries, 9 research centers, and the National Zoological Park. The total number of artifacts, works of art and specimens in the Smithsonian's collections is estimated at 156 million, the bulk of which is contained in the National Museum of Natural History, which holds more than 145 million specimens and objects. The Smithsonian is a renowned research center, dedicated to public education, national service, and scholarship in the arts, sciences, and history. www.si.edu.
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