Friday, September 29, 2017

NPR doesn't much like The Inhumans tv show

Introducing ... The Inept, Inert 'Inhumans'

Glen Weldon

NPR's Monkey See blog September 29, 2017

and neither does the Times...

When It Comes to New Marvel Shows, Skip 'Inhumans' and Try 'The Gifted'

A version of this review appears in print on September 29, 2017, on Page C12 of the New York edition with the headline: One Out of Two Ain't Bad.

Scoop at Baltimore Comic-Con

GE Gallas blogs about her SPX table

Sept 30: Gordon Harris at Richmond ZineFest tomorrow

September 29, 2017

Richmond ZineFest tomorrow

Gordon will be tabling tomorrow at the Richmond Public Library from 11:00 AM to 4:00 PM.

He'll have copies of his first Zine, his all-new graphic novel for kids, MISTAKEN IDENTITY, and other fine things to share and behold.

Come on by! 


Thursday, September 28, 2017

Best-paying cartoon magazine editor dies at 91

Hugh Hefner, visionary editor who founded Playboy magazine, dies at 91 [in print as Playboy founder brought titillation to the masses]

Washington Post September 28 2017, p. A1, 7
online at

Writer Gabby Rivera Is A True Superhero

Writer Gabby Rivera Is A True Superhero

Writer Gabby Rivera is helping bring the Marvel Comics character America Chavez to life.

Juliette Salgado/Courtesy of the artist

When writer Gabby Rivera read an email from Marvel Comics asking her to write for them, she was convinced it was spam at first.

But it turned out to be legit: Marvel wanted Rivera to put words to a new comic series featuring the queer, Latinx superhero America Chavez. The next thing she knew, Rivera was deep in research on superheroes from Marvel's vast archive.

NPR's Camilo Garzón caught up with Rivera at her home in Brooklyn.

Wednesday, September 27, 2017

A BCC Interview with John Patrick Green

by Mike Rhode

For years now, John Patrick Green (as he now styles himself to avoid confusion with the young adult writer John Green) has been a regular at the Small Press Expo, usually accompanied by Dave Roman and Raina Telgemeier. This year, I caught up with him at Baltimore Comic Con where he agreed to answer a few questions.

What type of comic work or cartooning do you do?

I'm the writer/artist of HIPPOPOTAMISTER and the upcoming KITTEN CONSTRUCTION COMPANY early-reader graphic novels, both from First Second Books, and also the artist of the TEEN BOAT! and JAX EPOCH series' with writer Dave Roman. I also do a lot of freelance graphic novel and type design for other publishers like Scholastic Graphix.

How do you do it? Traditional pen and ink, computer or a combination?

I do a combination of traditional and digital. I still like to draw by hand onto actual paper, and then scan the work into the computer for colors. For inking often what I'll do is sketch out my pencils, scan and compose them into proper layouts in Photoshop, print the pencils as "blue lines" onto bristol, then ink over the printout. Then I'll scan those back into the computer for coloring, and the leftover blue lines can just be turned off, without having to erase graphite from the page like with classic inking over pencils. Depending on the project I'll do my balloons, captions, and letters by hand or in computer.

When (within a decade is fine) and where were you born?

I grew up an '80s kid on Long Island, NY.

What is your training and/or education in cartooning?

I went to School of Visual Arts (SVA) in Manhattan for graphic design, but I took a number of comic book-related electives. I pretty much grew up making comics, starting around 4th grade or so, and was always taking as many art classes as I could in school. I'd say I'm mostly self-taught, but my college experience was invaluable.

Who are your influences?

My earliest influences would be newspaper strips, like Garfield and later Calvin & Hobbes. Favorite painters would be Van Gogh, René Magritte, and Norman Rockwell. As for comics, my biggest influence as far as my own sensibilities go is probably the original Spider-Ham series (yes, I said "ham.") I was definitely more of a Marvel kid than a D.C. kid, but I was also inspired by a lot of indy books like Teenage Mutant Ninja Turtles and Usagi Yojimbo, especially. And being an '80s kid, of course Star Wars was a big part of my youth.
If you could, what in your career would you do-over or change?

I wouldn't say I have any regrets, but possibly the one thing I'd do differently is stay at Disney Publishing. I worked for Disney Adventures Magazine for almost 10 years, and I loved working for Disney, but I'd gone freelance before Disney bought out Marvel and Lucasfilm. So being huge fan of those things as a kid, I occasionally wonder if I'd stayed at Disney just a little longer, would I have a hand in those properties now?

What work are you best-known for?

Probably TEEN BOAT! It's the only graphic novel about a boy who can transform into a small yacht. It features the angst of being a teen and the thrill of being a boat!

What work are you most proud of?

That's tough! I don't know if I'm necessarily more proud of any one project of mine over another. I guess I'd probably go with HIPPOPOTAMISTER because it's gotten a lot of positive responses from librarians and kids, and the recognition certainly feels good. But that doesn't make me like any of my other books less. I am proud of my KITTEN CONSTRUCTION COMPANY book, but that doesn't come out for awhile, so I'd say I'm more nervous about how people will respond to it.

What would you like to do  or work on in the future?

So many things that it's hard to narrow it down! I'd love to finally finish NEARLY DEPARTED, this video game I've been designing for years, but technology moves so fast that every time I get around to working on it, most of my effort goes to rebuilding it for modern systems. That's more of a hobby project, but it'd be nice to put it to bed. Same for getting the final volume of JAX EPOCH published, as that's been completed for a few years and hasn't been released. As for my next book (after finishing the ones already in my queue), usually the thing I'd "like" to work on is whatever a publisher gives me the green light for! When there are half a dozen book ideas I want to do, but can't do all at once, it can be a big help to have someone else say "do this one!"

What do you do when you're in a rut or have writer's block?

There isn't really one specific thing I do. It could be anything, really. Sometimes I'll just zone out. Sometimes I'll pace around. Usually I'll just preoccupy myself with another project, or watch some TV, or play a video game, or cook some food, or do some chores, like wash dishes or something. So my strategy is basically "do something else and come back later." I guess that's also known as procrastination.

What do you think will be the future of your field?

The future is now! There are already a lot of things going on in comics and the book industry that I'd call futuristic. Digital versions with sound effects and motion graphics, things like that. Having a social media presence be so much a part of an author's profile. The Kickstarters and Patreons and the like being new or alternative funding and distribution models. But as much as things change, I think there's still a place for people who just want to write or draw. It certainly helps to keep up with the changes in the industry, but the basics aren't going to completely go away. Until the robots come for us, that is.

How was your BCC experience? How often have you attended it?

This was my first time at BCC and it was great. I've exhibited at big shows like San Diego Comic-Con before, and this show is in a similar vein. Lots of wonderful fans and the convention was well-run. And I got to see a lot of other creators that I haven't crossed paths with in awhile. I look forward to doing it again in the future. I haven't spent much time in Baltimore, but it seemed like a great city, so I hope to be back soon.

Do you have a website or blog?

My website is, but I am absolutely terrible at keeping it up-to-date. Probably the best way to be informed of my projects and appearances is to follow me on twitter: @johngreenart

Kneel Protest by Cosplayers at Baltimore Comic Con

A guest post by photographer Bruce Guthrie.

On the last day of the BCC, there's a group cosplay photo shoot that's done on the steps of the convention center.  It's always interesting.

It's organized by a cosplay guy who's not connected at all with the convention.  He just loves to organize this sort of thing and apparently also organizes photo shoots at Awesome Con and other places.  

This year at BCC, Marvel kicked DC's butt -- probably twice as many wore Marvel costumes vs DC.  And when the organizer tried to get a Justice League group shot, he found there was absolutely no one dressed as Batman.

(Keep in mind that Batman has always been my favorite comic book character.  When I had to come up with a software company so I could do some part-time coding work for NIH, I thought of my first name and called it "Wayne Software".  I had business cards made and had "Batman Lives" in hexadecimal characters appearing underneath the name of the company.  I was the only one who had any clue what that meant.)

At the end of the photo shoot, he said there would be one more group shot and he said that if anyone felt at all uncomfortable doing it, please feel free to leave.  He then asked everyone to either kneel or raise a fist.  A couple of people left but most stuck around.

There was no explanation of the protest...  and really no need to explain it.  We all understood.  

Thinking about it...  It used to be a protest against police treatment of African-Americans that started during Obama's term.  But it's become an anti-Trumputin thing. 



Tuesday, September 26, 2017

Drawing Inspiration with Cartoonist Jim Toomey Live Now

Drawing Inspiration with Cartoonist Jim Toomey

Tuesday, September 26 at 7 pm

Reception at 6:30 pm with refreshments

Nationally syndicated cartoonist Jim Toomey, who has been drawing the newspaper comic strip "Sherman's Lagoon" for almost two decades, uses live drawing to demonstrate how he weaves an environmental message into his work, and how he has taken what he has learned in "old media" and applied it to creating short films and animations for an online audience.

Free and open to the public.  Location:

Malsi Doyle & Michael Forman Theater – 2nd Floor, McKinley Building, American University

4400 Massachusetts Avenue, NW, Washington, DC 20016-8017

Episode 237 – Ann Telnaes and Matt Wuerker

Episode 237 – Ann Telnaes and Matt Wuerker

Gil Roth

Virtual Memories podcast Sep 25, '17

"I did some hard-hitting cartoons during the Bush administration. . . . I kind of wish I held back a little because now it's like, 'Where do we go from here?'" –Ann Telnaes

It's a double-Pulitzer-winner episode! First, the great editorial cartoonist, animator and essayist Ann Telnaes joins the show to talk about the role of satire against the abuse of power, her political awakening, her present sense of urgency and her upcoming Trump's ABC (Fantagraphics), the reaction to the Charlie Hebdo murders, the images editors won't print, and the sanctuary of the Alexander Calder room at the National Gallery. Then past guest Matt Wuerker returns to the show (here's our first ep.) to talk about The Swamp, the loss of comity and the growth of tribalism in contemporary DC (characterized by that weekend's dueling rallies between Trump supporters and Juggalos), the problem with having easy targets, bringing conservative cartoons into his weekly roundup for Politico, taking up fly-fishing in his dotage, and more! Give it a listen! And go preorder Trump's A B C!

"It hasn't been this good for political cartoonists since Nixon and Watergate." –Matt Wuerker

About our Guests

Ann Telnaes creates editorial cartoons in various mediums — animation, visual essays, live sketches, and traditional print — for The Washington Post. She won the Pulitzer Prize in 2001 for her print cartoons and the National Cartoonists Society's Reuben for Outstanding Cartoonist of the Year for 2016.

Telnaes' print work was shown in a solo exhibition at the Great Hall in the Thomas Jefferson Building of the Library of Congress in 2004. Her first book, Humor's Edge, was published by Pomegranate Press and the Library of Congress in 2004. A collection of Vice President Cheney cartoons, Dick, was self-published by Telnaes and Sara Thaves in 2006. Her work has been exhibited in Paris, Jerusalem, and Lisbon.

Telnaes attended California Institute of the Arts and graduated with a Bachelor of Fine Arts, specializing in character animation. Before beginning her career as an editorial cartoonist, Telnaes worked for several years as a designer for Walt Disney Imagineering. She has also animated and designed for various studios in Los Angeles, New York, London, and Taiwan.

Matt Wuerker is the staff cartoonist and illustrator for POLITICO. He likes to cross hatch… a lot. He was the winner of the 2012 Pulitzer Prize for Editorial Cartooning. He was a finalist for the award in 2009 and 2010. He has also been awarded the 2010 Herblock Prize (presented at the Library of Congress) and the 2010 Berryman Award by the National Press Foundation.

Sept 27: Liniers in DC

In the DC area?
Liniers is comin' to town!


Wednesday, September 27, 2017 at 7:30 PM

Takoma Park Library
101 Philadelphia Ave
​Takoma Park, MD 20912

In partnership with Politics & Prose, join Liniers for a very special book reading of Good Night, Planet and Q&A at the Takoma Park Library.
Illustration and signing to follow!


Liniers with new fans!


Liniers to visit three DC public schools for bilingual presentations


This week Liniers will present Good Night, Planet and Buenos Noches, Planeta to children at three Washington DC-area public schools. These are always fantastic events with book signings for the students. Thank you to Politics & Prose and An Open Book Children's Literacy Foundation for making these events possible.

Comic Riffs on banned books

Banned Books Week: Why are illustrated books being challenged more than ever?

Washington Post Comic Riffs blog September 25 2017

International Journal of Comic Art 19-1 Table of Contents

International Journal of Comic Art
Vol. 19, No. 1 Spring/Summer 2017

Freedom To Cartoon: An Endangered Concept
A Symposium
Edited by John A. Lent
Global Infringements on the "Right to Cartoon": A Research Guide
John A. Lent
From Socialism to Dictatorship: Editorial Ideologies in Chilean Science Fiction and Adventure Comics
Camila Gutierrez Fuentes
La Figura del Presidente Salvador Allende.Caricatura Politica e Imagenes Fatldicas
Jorge Montealegre I.
Control over Comic Books in Spain during the Franco Dictatorship (1939-1975)
Ignacio Fernandez Sarasola
Early Censorship of Comics in Brazil and Spain and Their Use as an Educational Resource as an Escape
Cristiana de Almeida Fernandes, Vera Lucia dos Santos Nojima, Ana Cristina dos Santos Malfacini, and Maria da Conceicao Vinciprova Fonseca
Two Life Times and 15 Years: A Cuban Prisoner's Coping Through Cartoons
John A. Lent
American Infection: The Swedish Debate over Comic Books, 1952-1957
Ulf Jonas Bjork
Seduced Innocence: The Dutch Debate about Comics in the 1940s and 1950s
Rik Sanders
Translated by Melchior Deekman
Pioneers in Comic Art Scholarship
"Acquire the Widest Possible Comics Culture": Au Interview with Thierry Groensteen
John A. Lent
Pioneers in Comic Art Scholarship
The Multi-Varied, 50-Year Career of a Fan-Researcher of Comic Art
Fred Patten
Gutter Ghosts and Panel Phantasms: Horror, Haunting, and Metacomics
Lin Young
World War II in French Collective Memory: The Relevance of Alternate History Comics.
An Analysis of the Wunderwaffen Saga
Simon Desplanque
Genre Hybridity as the Scheme of the Comics Industry
Jaehyeon Jeong
On the Pastoral Imaginary of a Latin American Social Democracy: Costa Rica's El Sabanero
Hector Fernandez L'Hoeste
Between Fine and Comic Art. On the Arab Page: Much Connects Art and Comics in Egypt and the Wider Middle East
Jonathan Guyer
"Art Is My Blood": A Short Interview with Nora Abdullah, Pioneer Female Malay Comic Artist
Lim Cheng Tju
Comics Theory for the Ages: Text and Image Relations in Medieval Manuscripts
Jesse D. Hurlbut
Examining Film Engagement Through the Visual Language of Comics
R. Brad Yarhouse
Hemispheric Latinx Identities and Transmedial Imaginaries: A Conversation with Frederick Luis Aldama
Janis Breckenridge
In Search of the Missing Puzzle Pieces: A Study of Jimmy Liao's Public Art Installations in Taiwan
Hong-Chi Shiau and Hsiang-wen Hsiao
Far from the Maddening Crowd: Guy Delisle as Cultural Reporter
Kenan Kocak
Portrayal of Massacre: A Comparative Study between Works of Joe Sacco, Art Spiegelman, and Fumiyo Kono
Sara Owj
Toriko's Database World
Bryan Hikari Hartzheim
Beyond Images and Gags: Comic Rhetoric in "Luann"
Veronica Anzaldua
Happy Ike, The Pink Kid and the American Presence in Early British Comics
Michael Connerty
The Swedish Phantom: Sweden's Domestication of an American Comic Book Hero
Ulf Jonas Bjork
Start Spreading the News: Marvel and New York City
Barry Pearl
Honore Daumier: Caricature and the Conception/Reception of "Fine Art"
Jasmin Cyril
China's Cartooning in the War of Resistance against the Japanese Invasion
Zola Zu
Belgian bande dessinee and the American West
Annabelle Cone
The Printed Word
John A. Lent
Book Reviews
M. Thomas Inge
David Lewis
John A. Lent
Lim Cheng Tju
Janis Breckenridge
Benoit Crucifix
Christopher Lee Proctor II
Michael J. Dittman
Leslie Gailloud
Exhibition and Media Reviews
Edited by Michael Rhode
Maite Urcaregui
Pascal Lefevre
Keith Friedlander

A Big Trip to the Small Press Expo: A Guest Post by Charles Brubaker

John Kovaleski and Charles Brubaker
by Charles Brubaker

One thing that became apparent to me as I became serious about cartooning is that vending in conventions is very important. Not only are comic conventions the best way to network with other comics professionals, but also are a good way of gaining new readers as well.

Figuring out which cons work best for me is a case of trial and error. Even if I focus on cons that are friendly to indie comics, it's still a gamble. I tried everything from a big ones like Baltimore Comic Con to smaller ones like SPACE in Columbus. However, one con I really wanted to go to was Small Press Expo (SPX), which was held this year on September 16 and 17.

Long regarded as the ultimate indie comic convention in the US, I was very curious about what it's like. Getting a booth there wasn't easy, as SPX gets thousands of application every year, while only being able to take a small number (I believe that nearly 600 people exhibited this year), so they choose who gets to have a table by using a raffle system.

To say it took me a while to get a space there is an understatement. In fact, it took me 2 years until luck shined on me. SPX was the fifth con I went to in 2017 (including a free table space I got at a children's book festival in my local library). I normally try to reserve my number of conventions to three due to cost factor, but I decided to take the SPX offer because, well, it took me years to finally get an opportunity.

I would normally fly to conventions, but after several airplane trips and going through TSA, I decided to drive to Bethesda, Maryland with my dad. It was a long trip from western Tennessee; it took two days, with a stop in Huntington, West Virginia.

I arrived with several boxes, containing paperbacks of my "Ask a Cat"  and "The Fuzzy Princess" comics, plus left-over minis and floppies from my other cons. Both of my on-going comics feature cats as leading characters. So naturally, the SPX people saw fit to put me in booth K-9 (har har), where I shared space with Lucy Bellwood, who traveled a lot further than I did, coming from Oregon. I don't know if the SPX people gave me that table number on purpose, but I'd like to think they did. It would fit with their sense of humor.

In previous cons, I would normally only sell floppies and mini-comics. I had my "Fuzzy Princess" stories printed in individual standard-sized issues, and minis collecting "Ask a Cat" strips. However for SPX, I had paperback books, having drawn enough material for both comics. I was worried that I would have harder time selling paperback books over the comparatively cheaper minis, but the opposite was the case. I ended up selling far more paperbacks than minis and floppies. As Lucy told me, "people like books with spines." I especially sold a lot of "The Fuzzy Princess Vol. 1," which is more story-oriented. Graphic novels are popular there, it seems.

While I still plan to continue making mini-comics, since they're easy to make, and also because they make great perks for my Patreon, I've been thinking of phasing out my floppies because of the cost. The cost of printing full-color comic books is about the same as printing up a 150-page black and white paperback book, and people would rather pay for $10 paperbacks with tons of content, even in black and white, over a 30-page color comic books that cost $5.

Of course, with nearly 600 people vending, and over a thousand or so people attending, you are bound to run into familiar faces. Pretty much everyone I worked for was there, but I was meeting them in person for the first time. These include Chris Duffy (editor for SpongeBob Comics), Ryan Flanders (art director for MAD Magazine), and Shena Wolf (editor at Andrews McMeel). Other familiar faces included comic creators. It was nice seeing Keith Knight again; the last time I saw him was over 10 years ago, when I was still in high school. Among people who were near my booth were Sponge Bob-contributor Joey Weiser (Mermin), whom I already met a year before at FLUKE in Athens, GA, Drew Weing, who draws "The Creepy Casefiles of Margo Maloo", and Steve Conley, who draws "The Middle Age" for GoComics. I also ran into John Kovaleski, who drew one of my favorite comic strips, "Bo Nanas", years ago. I had my online readers come visit me, which is always a pleasant experience (and a special mention to Mike Rhode, who suggested I write this post when I saw him).

The second day was a lot slower, selling fewer books, so I took the opportunity to walk around the con more. The thing about cons this big is that there will be creators you admire, but had no idea they were going to be here. That was the case with KC Green and Meredith Gran. It's impossible to keep track of everyone you know who's going to be here.

In spite of the slow second day, my overall experience was very good. It was a jam-packed event, from seeing everyone who is enthusiastic about comics, to the lively Ignatz Awards ceremony, and the legendary chocolate fountain. Here's hoping I can go back in 2018.

Charles Brubaker is a cartoonist based in Martin, TN. He draws Ask a Cat ( and The Fuzzy Princess (, and also contributes to SpongeBob Comics and MAD Magazine. His blog is

December 7: Lecture: "An Introduction to French Comics"

Lecture: "An Introduction to French Comics"

Lecture: "An Introduction to French Comics" 

(postponed from October 24)

A high-level introduction into how a closely neighboring culture views the humble comic book in a completely different way.About the Speaker: RM Rhodes has a day job and lives in Arlington, but he would prefer to be known as a comics creator and historian. He has written articles and reviews for sites like Forces of Geek, Need Coffee, The Hooded Utilitarian, and Comics Workbook. He is learning French so he can read his French comics and enjoys talking about himself in the third person. $5, Doors at 6:30 p.m., lecture at 7 p.m., followed by a wine and dessert reception.

VENUE: The Lyceum CAPACITY: 120 PRICE: $5.00 DATE: 12/7/2017 EVENTID: 6000278

Monday, September 25, 2017

Catching up with conservative cartoonist Al Goodwyn

by Mike Rhode
It's been 6 years since I interviewed you for the Washington City Paper - The world's changed a bit since then - have you?
Other than grayer hair and higher cholesterol, I haven't changed much.  Still enjoying life in DC.  And you're right, the world has certainly changed, some for the good and some for the bizarre.  What's also bizarre is that the good and bizarre labels seem to flip depending on individual political perspectives.
About six months ago you started a cartoon blog with Jeff Newman where you provide conservative political cartoons and he does humorous commentary on public events.  Can you tell us how that started, and why you're doing it? How is the reaction?
I had been wanting to try my hand at blogging for some time.  Given that the first steps at blogging aren't really part of the creative process, but include figuring out the mechanics of blogging, the layout, and all of the key strokes needed just to get started, it stayed on the back burner for years.  Jeff's a good friend of mine back in South Carolina and we chat often about politics.  He was actually the push to make the blog finally happen. 
It was over a few beers with Jeff that the topic of blogging resurfaced.  We convinced ourselves we could manage a blog.  Isn't beer amazing?  We wanted the theme to somehow counter the growing number of people who get their news from Comedy Central and memes.  We were both a fan of the book Confederacy of Dunces by John Kennedy Toole where people seemingly amassed in a confederacy to stymie the protagonist's every move.  From our prospective those who simply latch on to whatever fits their world view without validation from other sources were acting like drones, hence Confederacy ofDrones was launched. 
With lots of snarkiness, satire and sarcasm, we've been posting on a fairly routine basis since then.  Part for fun and part for sanity.  We've loaded over 150 posts so far. We even appreciate other perspectives and disagreement especially when opinions are backed up by facts. The blog can be found here:  The reaction has been positive and we've enjoyed engaging with other bloggers on politics.
You've been picked up to do print cartoons for the Washington Examiner, which was Nate Beeler's home when it was a daily. What is the story behind that? Is it all new material for them?
Nate is a phenomenal editorial cartoonist.  His work was a part of my metro commute when the Washington Examiner was a daily newspaper.  I was sorry to see that daily paper go away, partly because it changed my commute routine but mostly because it was another step in the fading of political cartoonists.  Nate has been, and I'm sure he'll continue to be, used by the Washington Examiner through syndication. 
My involvement with the Washington Examiner came about because my cartooning outlet of 28 years, the HealthPhysics News, was cutting back on costs and no longer wanted cartoons.  My start at cartooning began with them back in 1989 when they were called the Health Physics Society Newsletter and ever since then I had been a regular contributor … until this summer when they let me know that they would no longer be running cartoons.  I think they felt worse about it than I did.  It's a business decision that I completely understood.  They had been great to me over those many years and without them, it's possible I may never have tried my hand at cartooning.   
Since one door closed, I was in search of another.  The Washington Examiner, now a weekly news magazine, has its offices near mine in downtown DC.  I made contact with several people there and after they looked at some of my work, we met in person.  They were encouraging during that meeting and indicated that they'd like to occasionally use my work.  The first was in the September 18th issue. 
How does it feel to have a 'reinvigorated' political cartoon career as a conservative in 2017? 

It's great to have an outlet whether it's the blog or in print.  There's so much going on and so many opportunities to identify contrary opinions to what's happening in politics and society, that there's plenty of motivating material for cartoons. 

Even though I lean to the right and most of my cartoons have a conservative tilt, I still poke at Republicans and President Trump.  Of course many would say, and I'd agree, that those are easy targets based on recent missteps and gaffs.  Fortunately as far as US presidents are concerned, we don't elect them for life.  Unfortunately, in the absence of term limits for congress, the country has moved too far away from the citizen politician and more toward entrenched career politicians.  You'd think with the level of political fodder available today for lampooning that the world of political cartoons would be a thriving industry.  Maybe, again, some day.

PR: The Comics Industry Celebrates the Inaugural Ringo Awards

These awards replaced the Harvey Awards, which have moved to NYCC, and are currently in abeyance. Local winners include March, Tom King and ReDistricted.
The Comics Industry Celebrates the Inaugural Ringo Awards

BALTIMORE, MARYLAND - September 24, 2017 - Comic creative professionals, publishers, retailers, and fans came together Saturday night, September 23, 2017 to socialize, dine, and experience the comic book industry celebrating recognition of their peers, co-workers, and competitors at the 2017 Mike Wieringo Comic Book Industry Awards. The inaugural Ringo Awards was sponsored by Presenting Sponsors Cards, Comics & Collectibles and the Baltimore Comic-Con; Gold Sponsors The Amazing Comic Shop, BOOM! Studios, Geppi Family Enterprises, Painted Vision Comics; Silver Sponsors AfterShock Comics, South Carolina Comic-Con, ComicMix, and Valiant Entertainment; and Gift Bag Sponsors Abrams ComicArts, AfterShock Comics, Archie Comic Publications, BOOM! Studios, Dark Horse Comics, DC Comics, Dynamite Entertainment, Flesk Publications, IDW Publishing, Scholastic, Source Point Press, 'Toon Tumblers, and Valiant Entertainment. The banquet and awards ceremony honoring nominees and winners in professional and fan categories was hosted by the Baltimore Comic-Con and Cards, Comics & Collectibles.
The Mike Wieringo Comic Book Industry Awards is an annual celebration of the creativity, skill and fun of comics. The nomination ballot is determined by fans and pros alike.
The Ringo Awards was honored to present David Petersen, best known as the multiple award-winning writer and artist of Mouse Guard., as the inaugural keynote presenter at the event.
A very special thanks go to the sponsors who donated items to the 2017 Ringo Awards Gift Bags, including Abrams ComicArts, AfterShock Comics, Archie Comic Publications, BOOM! Studios, Dark Horse Comics, DC Comics, Dynamite Entertainment, Flesk Publications, IDW Publishing, Scholastic, Source Point Press, 'Toon Tumblers, and Valiant Entertainment.
Winners of the 2017 Mike Wieringo Comic Book Industry Awards are:

Fan Favorites:
  • Favorite Hero: Cash Wayne (Spectrum)
  • Favorite Villain: Arlo (unOrdinary)
  • Favorite New Series: Spectrum
  • Favorite New Talent: InstantMiso
Jury and Fan Winners:
  • Best Cover Artist: Frank Cho
  • Best Series: Vision, Marvel Comics
  • Best Letterer: Todd Klein
  • Best Colorist: Laura Martin
  • Best Humor Comic: I Hate Fairyland, Image Comics
  • Best Original Graphic Novel: March: Book III, Top Shelf Productions
  • Best Comic Strip or Panel: Bloom County, Berkeley Breathed, Universal Uclick
  • Best Single Issue or Story: Emancipation Day,
  • Mike Wieringo Spirit Award: Future Quest #1, DC Comics
  • Best Anthology: Love is Love, DC Comics/IDW Publishing
  • Best Non-fiction Comic Work: March: Book Three, Top Shelf Productions
  • Best Presentation in Design: Mike Mignola's Screw-On Head and Other Curious Objects: Artist's Edition Hardcover, IDW Publishing
  • Best Webcomic: The Red Hook, Dean Haspiel
  • Best Inker: Sean Murphy
  • Best Writer: Tom King
  • Best Artist or Penciller: Fiona Staples
  • Best Cartoonist (Writer/Artist): Skottie Young
Hero Initiative Awards:
  • Dick Giordano Humanitarian of the Year Award: Joshua Dysart
  • Hero Initiative Lifetime Achievement Award: Marv Wolfman
In addition, the Baltimore Comic-Con would like to thank those individuals who presented at this year's award ceremony, including: Keynote speaker David Petersen, Tom Brevoort, Darryl "DMC" McDaniels and Amy Chu, Walter and Louise Simonson, Terry and Robyn Moore, Kazu Kibuishi and Charlie Kochman, Lora Innes and Thom Zahler, and Todd Dezago, Craig Rousseau, and Mark Waid. We would also like to thank John Gallagher for his contributions to our program guide for the evening and awards ceremony presentation.
Please join us next year for the second annual Mike Wieringo Comic Book Industry Awards taking place at the 19th annual Baltimore Comic-Con on September 29, 2018, and keep an eye on our website and social media accounts below for 2018 ballot information.
Click Below to Follow Us!

Like us on Facebook
Follow us on Twitter
View us on Instagram
About Mike Wieringo

Fantastic Four BCC Exclusive Cover
Michael Lance "Mike" Wieringo was known to fans and friends as "Ringo", which is how he signed his artwork. His comics artist graced the pages of DC Comics' The Flash, Adventures of Superman, Batman, and Robin, Marvel Comics' Fantastic Four, Friendly Neighborhood Spider-Man, Sensational Spider-Man, and Rogue, and his co-creation Tellos. He passed away on August 12, 2007 at the young age of 44 from an apparent heart attack.
About the Ringo Awards

The Mike Wieringo Comic Book Industry Awards is an annual celebration of the creativity, skill and fun of comics. The Ringo Awards recognize outstanding achievements in over 20 categories, and are the only industry awards nominated by fans and pros alike, with final voting by the comic professional community. Launched in 2017, the awards ceremony is held annually at the Baltimore Comic-Con. Further details are available at
About the Baltimore Comic-Con

The Baltimore Comic-Con is celebrating its 18th year of bringing the comic book industry to the Baltimore and Washington D.C. area. For more information, please visit 
The Ringo Awards, P.O. Box 917, Reisterstown, MD 21136