Thursday, April 25, 2019

The Express on Awesome Con

Awesome Con is back with wall-to-wall celebrities, gaming and comic book fun

Express April 24 2019

Local cartoonists usually attend - ".... the toy-heavy Awesome Con Jr. is geared toward kids and families. There, cartoonist John Gallagher will instruct on the fine art of drawing Lego versions of popular characters, and designer Carolyn Belefski will guide kids on how to design their own superhero symbol."

Walter E. Washington Convention Center, 801 Mount Vernon Place NW; entry Fri., noon-8 p.m., Sat., 10 a.m.-7 p.m., Sun, 10 a.m.-5 p.m., $40-$65 per day, $80-$175 for three-day pass, $15 for kids pass.

Wednesday, April 24, 2019

Tuesday, April 23, 2019

The Post explains the events of the Marvel Cinematic Universe

Everything that's happened leading up to 'Avengers: Endgame'

Don't have time to rewatch all 21 previous movies? No problem.

Cavna of The Post on Avengers business model

'Avengers: Endgame' is a really big deal — for more reasons than you may think [in print as The marvel that is 'Avengers'].

Kazuo Koike obituary in The Post

Kazuo Koike, creator of 'Lone Wolf and Cub,' 'Lady Snowblood' manga, dies at 82 [in print as Kazuo Koike, 82; Mangaka's pulp  fiction inspired filmmakers]

PR: WOO HOO! Awesome Con 2019 is THIS WEEKEND!

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Monday, April 22, 2019

Mike Cavna takes 2nd place newspaper award for Comic Riffs blog

85th National Headliner Awards Newspaper and Online winners

The 85th National Headliner Award winners honoring the best journalism for radio and television stations in 2018 were announced today. The awards were founded in 1934 by the Press Club of Atlantic City. The annual contest is one of the oldest

Best Blog

Second Place
"Comic Riffs: The Power of Political Art"
Michael Cavna
The Washington Post, Washington, D.C.

Since I've got the press release open, here's the editorial cartoon winners:

Editorial cartoons
First Place
Rob Rogers
Judges' comments: This collection of cartoons gets high marks for originality, diversity of topics, quality of artwork and clarity of message. An outstanding entry all around.

Second Place
Ward Sutton
The Boston Globe, Boston, Mass.

Third Place
Michael Ramirez
Las Vegas Review-Journal, Las Vegas, Nev.

Sunday, April 21, 2019

Flugennock's Latest'n'Greatest: "Space Force no.2: Mars Awaits"

From Mike Flugennock, DC's anarchist cartoonist

"Space Force no.2: Mars Awaits"

This was initially inspired by this article on Sputnik International, 
about the six military bases up for consideration for Space Force 
headquarters. After some curious digging, I've noticed they've gone 
from "Mars Awaits" to the slightly more modest "back to the Moon in 5 
years". Of course, the goal that's grabbing the attention of millions 
of us is VP Man From GLAD's consideration of nuclear weapons 
deployment in space.

Goes without saying Elon Musk is on board with the idea; I'm guessing 
his long game will involve a need for a few hundred Space Grunts to 
guard his gated Martian colonies for the rich.


"Six Air Force Bases Being Considered to House Space Command - 
Reports", Sputnik International 04.09.19

"Pence Calls for Landing US Astronauts on Moon in 5 Years", NBC 03.26.19

"Musk Backs Space Force Proposal", SpaceNews 11.03.18

"Pence leaves open the possibility of nuclear weapons in space: 'Peace 
comes through strength'", Washington Post 10.23.18

"A legal look at Elon Musk's plans to colonize Mars", The Space Review 

That darn Curtis and Baby Blues

Art imitates life imitates art [letters on Curtis, Baby Blues].
Stephen Marschall, Lila Snow,
Washington Post April 20 2019

Friday, April 19, 2019

Post's obituary for manga's Monkey Punch

Monkey Punch, Japanese cartoonist of Lupin III manga and anime series, dies at 81 [in print as Monkey Punch, 81: Japanese cartoonist's Lupin spawned film, TV spinoffs]

Library of Congress blogs on superhero teams

Let's Talk Comics: Teams & Team-Ups

Wednesday, April 17, 2019

Magic Bullet #18 is out

Magic Bullet 18 - Cover and ToC

MAGIC BULLET 18 is officially on the streets! The new issue has been printed, picked up, and the initial distribution run has begun. Look for it in comic book stores, music stores, book stores, coffee shops, etc!

We're excited to present the cover, from Eric Gordon, as well as the full table of contents.

Santiago Casares 
Carlos Torres 
Bizhan Khodabandeh 
Matt Rawson 
G.R. Lear 
Stephanie Butto and Evan Keeling 
Art Hondros 
Gabe McOwen 
Rafer Roberts 
Mike Brace 
Mike Cowgill 
Adam Griffiths 
Troy-Jeffrey Allen and Matt Rawson 
John Kinhart 
Maria Sweeney 
Rob Ciesielski
Dale Rawlings 
Steve Wallet 
Gordon Harris 
Andrew Cohen 
Kit Fraser 
Jon Poliszuk 
Teresa Roberts Logan 
Steve Steiner 
Beppi and Mary Knott 
William A. Anderson   
R.M. Rhodes and Evan Keeling 
Carolyn Belefski and Joe Carabeo
David Ross
Bruce Fasick 

NPR Talks to Darrin Bell

Josh Kramer reviews Brian Fies' A Fire Story

Reviews: A Fire Story

April 17-20 Popular Culture Association meeting in DC

Registration information is at

The guest registration option is available only for a one-day pass (24 hours) or for spouses and family members of presenters.  If you are attending the conference for more than one day, are a presenter or a returning member of the Association, you should pay the full conference fee.  Those violating this policy are subject to cancellation of their registration.

Please join us in Washington, D.C., for the 2019 PCA National Conference from April 17th through the 20th, 2019. We will convene at the Washington Marriott Wardman Park.  The Popular Culture Association is highly regarded in academe with thousands of academic oral presentations given internationally, two top-tier journals (Journal of American Culture and The Journal of Popular Culture), and over 3,000 members. This year's conference should be exciting with papers on a wide array of subjects.

Here's some items of interest to blog readers:

Animation I: Through the Eyes of Animators
Wednesday, April 17 – 1:15 pm to 2:45 pm
Animation II: Technology and Animation
Wednesday, April 17 – 3:00 pm to 4:30 pm
Animation III: The Wonderful Worlds of Disney Animation
Wednesday, April 17 – 4:45 pm to 6:15 pm
Animation IV: Animation and the Real World
Wednesday, April 17 – 6:30 pm to 8:00 pm
Animation Dinner
Wednesday, April 17 – 8:15 pm to 9:45 pm
Off-Site Dinner
Animation V: Animation History
Thursday, April 18 – 8:00 am to 9:30 am
Animation VI: Commercialism, Consumerism, and Fan Aspects of Ani-
Thursday, April 18 – 9:45 am to 11:15 am
Animation VII: An Examination of Gender Roles in Animation
Thursday, April 18 – 11:30 am to 1:00 pm
Animation VIII: Critical and Theoretical Approaches To Animation
Thursday, April 18 – 1:15 pm to 2:45 pm
Animation Special Screening I: "Mni Wiconi: Water is Life"
Thursday, April 18 – 3:00 pm to 4:30 pm

Asian Popular Culture

II. Manga: Japan
Friday, April 19 – 1:15 pm to 2:45 pm
Park Tower STE 8209

VI. Anime: Japan
Saturday, April 20 – 8:00 am to 9:30 am
Park Tower STE 8209

Comics and Comic Art
Comics and Comic Art 1: The Form
Wednesday, April 17 – 1:15 pm to 2:45 pm
Thurgood Marshall
Comics and Comic Art 2: Historical Perspectives
Wednesday, April 17 – 3:00 pm to 4:30 pm
Thurgood Marshall
Comics and Comic Art 3: Political Topics
Wednesday, April 17 – 4:45 pm to 6:15 pm
Thurgood Marshall
Comics and Comic Art 4: Shifting Identities
Wednesday, April 17 – 6:30 pm to 8:00 pm
Thurgood Marshall
Comics and Comic Art 5: Sex and Superheroes
Thursday, April 18 – 8:00 am to 9:30 am
Washington Room 1
Comics and Comic Art 6: Issues of Masculinity
Thursday, April 18 – 9:45 am to 11:15 am
Washington Room 1
2462. Comics and Comic Art 7: Screen Influences
Thursday, April 18 – 11:30 am to 1:00 pm
Washington Room 1
Comics and Comic Art 8: Heroes
Thursday, April 18 – 1:15 pm to 2:45 pm
Washington Room 1
Comics and Comic Art 9: Graphic Mothers
Thursday, April 18 – 3:00 pm to 4:30 pm
Washington Room 1
Comics & Comic Art 10: Roundtable on Comics Censorship
Round table
Thursday, April 18 – 4:45 pm to 6:15 pm
Room 1
Comics and Comic Art: Area Dinner
Thursday, April 18 – 6:30 pm to 8:00 pm
Off-Site Dinner
Comics and Comic Art 11: Historical Perspectives Deux
Friday, April 19 – 9:45 am to 11:15 am
Washington Room 1
Comics and Comic Art 12: Monsters Inside and Out
Friday, April 19 – 11:30 am to 1:00 pm
Washington Room 1
Comics and Comic Art Area Meeting
Friday, April 19 – 1:15 pm to 2:45 pm
Washington Room 1
Comics and Comic Art 13: Roundtable on X-Files
Friday, April 19 – 3:00 pm to 4:30 pm
Washington Room 1
Comics and Comic Art 14: Good Intentions
Friday, April 19 – 4:45 pm to 6:15 pm
Washington Room 1
Comics and Comic Art 15: Exhibitionist Behavior and Underground
Friday, April 19 – 6:30 pm to 8:00 pm
Washington Room 1
Comics and Comic Art 16: Form and Function
Saturday, April 20 – 9:45 am to 11:15 am
Washington Room 1
Comics and Comic Art 17: Stan Lee
Saturday, April 20 – 11:30 am to 1:00 pm
Washington Room 1
Comics and Comic Art 18: Comics in Performance
Saturday, April 20 – 1:15 pm to 2:45 pm
Washington Room 1

Baltimore's Marc Nathan interviewed

Tuesday, April 16, 2019

Library of Congress collection used for wartime comic book research

#22 from Grand Comics Database
Paul Hirsch used the papers of the Writers' War Board held in the Library of Congress, specifically Box 11 of the collection, to look at how a semi-official government body influenced the depiction of the Axis in comic books during the war. DC Comics, Fawcett Comics, and Street & Smith are specifically mentioned.

The WWB also encouraged racial reconciliation in America at the same time, with a 'Race Hatred Committee' which helped with an anti-lynching story in Captain Marvel, Jr. #22.

Here's the citation and the abstract:

"This Is Our Enemy" The Writers' War Board and Representations of Race in Comic Books,1942–1945
Author(s): Paul Hirsch
Source: Pacific Historical Review, Vol. 83, No. 3 (Aug., 2014), pp. 448-486
Published by: University of California Press


During World War II, the U.S. government, through the Writers' War Board (WWB), co-opted comic books as an essential means of disseminating race-based propaganda to adult Americans, including members of the armed forces. Working with comic creators, the WWB crafted narratives supporting two seemingly incompatible wartime policies: racializing America's enemies as a justification for total war and simultaneously emphasizing the need for racial tolerance within American society. Initially, anti-German and anti-Japanese narratives depicted those enemies as racially defective but eminently beatable opponents. By late 1944, however, WWB members demanded increasingly vicious comic-book depictions of America's opponents, portraying them as irredeemably violent. Still, the Board embraced racial and ethnic unity at home as essential to victory, promoting the contributions of Chinese, Jewish, and African Americans.