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Saturday, March 29, 2003

A look at February's numbers
(Comics Retailing) I'd been holding off on this for the last few days in hopes of seeing someone post more specific numbers, but screw it.
Comic Book Resources has the charts for February's comics-shop orders, broken down into the top-selling companies by dollar and unit shares, top 300 bestselling titles, and top fifty graphic novels. Newsarama meanwhile does a decent enough job of explaining what the charts mean. There are no real surprises here. Marvel's market-share percentages drop once re-orders are included, some of the bigger independent publishers gain a bit... we've heard this song before.

I don't have much to say on the subject until I can find out what the exact sales numbers are -- the charts CBR provides are listed by "guide number", which is to say that everything under the #1 selling comic (Batman #612) is listed by percentage of its sales in comparison to the #1 title. Until you know how much Batman #612 sold, it's foolish to try to guess how well the market is doing; ICv2 has the initial orders for the title listed at 125,095 copies, but there's still the re-orders to factor in, and I don't have those figures at hand. If you can find them, do me a favor and pass along the link.
Posted @ 6:30 AM by Dirk Deppey | permalink


Will the inspiration for Mauldin's dogface get the Medal of Honor?
(Editorial Cartooning) A campaign is underway to have late Rayson Billey, a Choctaw Indian from Keota, OK, presented with a posthumous Medal of Honor. Billey served with the 45th Infantry Division during WWII, and saw combat in North Africa and Europe. His biggest claim to fame, however, is as the inspiration for Bill Mauldin's character "Joe", one-half of the "Willie and Joe" team that entertained the troops from the pages of Stars and Stripes during the war. Texas newspaper
The Sherman Denison Herald Democrat explains:

"Bob Elston of Denison and Aaron Dry of Madill have been pursuing a Congressional Medal of Honor to recognize Billey's gallantry with the 45th Infantry Division. He was a member of Company K (from McAlester), 180th Regiment, mobilized in 1940 during World War II. Billey had joined the National Guard to earn a few extra dollars and soon found himself on the way to the heat of the battle."

Elston and Dry's campaign is currently hampered by the lack of witnesses -- not many of the Tribal members of Billey's National Guard unit returned from the war, and witnesses to his valor are needed if he is to receive the medal. The article concludes, "If anyone knew Rayson Billey or has letters, published reports or newspapers about the man who became famous through Mauldin's cartoons as the dogface known as 'Willie', they would appreciate a call or a visit. Bob can be contacted at his business phone 903/465-1960." (Note: The article has it wrong -- "Joe" was the Native half of the famous duo, and is undoubtedly the character Billey inspired.)
Posted @ 6:30 AM by Dirk Deppey | permalink


A correction
(Commentary) At the end of yesterday's
report on Doubleday, I erroneously stated that the folding of the company's graphic-novel line probably had less to do with low sales than with the editor's unfamiliarity with the ins-and-outs of the trade. I have since been decisively proven wrong in this; one anonymous correspondent has provided me with sales numbers which seem to disprove my thesis all by themselves, and TCJ news editor Michael Dean has since informed me that his investigations have led him to other explanations. In short, I was talking out my ass, and regret the error.
Posted @ 6:30 AM by Dirk Deppey | permalink



Friday, March 28, 2003

Doubleday confirms end of GN line
(Graphic Novels) Putting an end to speculation that began when TCJ news editor Michael Dean first
broke the story, Doubleday finally came clean and acknowledged that they would indeed be shuttering their line of graphic novels, although Will Eisner's Fagin the Jew will still see release as part of the company's general list. Publishers Weekly reports:

"Bill Thomas, editor-in-chief of Doubleday Broadway Books, said the company was closing down the graphic novel line because 'the level of sales did not meet our expectations.' Thomas said DGN was 'conceived as an experiment to see how well these books performed when published with traditional trade marketing strategies.' Thomas said that a 'programmatic approach to graphic novel publishing' was best left to publishers who specialize in the format."

You might want to take that complaint about sales with a grain of salt -- the Journal's sources seem to agree that the line began falling apart after original editor Deborah Cowell left Doubleday, and tend to place more of the blame on her replacement's lack of knowledge in the field. A full report on the collapse of Doubleday's line is scheduled to appear in The Comics Journal #252.

Update: it seems that my analysis was completely wrong. See the correction printed above.
Posted @ 1:45 AM by Dirk Deppey | permalink


Mexico moves to kill its public domain
(Copyright Law) Stanford law professor Laurence Lessig has posted to
his website an email received from Mexico's Olivares Copyright and Technology group about a bill pending in that country's Congress, which would not only extend the current copyright protections, but also allow the government to collect royalties on a given work even after that term had expired:

"One change that has also become the subject of discussion is the increase of the patrimonial right term of life plus seventy-five years to life plus one hundred years. Once the term expires, the Government would have the power to collect fees from the use of works, which are no longer protected. Older statutes like the Copyright Law of 1956 followed a similar system, which was abolished during the eighties as it resulted unfair and inapplicable..."

Writing in his weblog, Lessig wryly commented, "This is apparently something new for government regulators. Usually governments nationalize first, and then (and as a result) kill the industry nationalized. Mexico plans to innovate on this pattern: kill the public domain first, and then nationalize after." A move like this could have all manner of repercussions on the Mexican publishing industry -- were a similar move to be implemented here in America, archival collections of classic American comic strips like Krazy Kat and Gasoline Alley would be rendered financially untenable in a heartbeat. It may not seem like it has much connection to comics at first glance, but I'd call this story one to keep an eye on...

(Link courtesy of Boing Boing.)
Posted @ 1:45 AM by Dirk Deppey | permalink


Cartoon gets dissident Tongan newsweekly banned -- again
(Editorial Cartoons) Last month Taufa'ahau Tupou IV, King of the tiny island nation of Tonga, ordered the weekly newspaper Taimi 'o Tonga banned. Yesterday Police Minister Clive Edwards appeared before a Tongan court to explain why.
The New Zealand Herald covered the hearing:

" 'They are saying that the leaders of this country are sodomites and poofters, that the leaders are sodomising each other... without mentioning any names... which means that people might think that any of the leaders could be doing that,' Edwards said.

"He appeared to be referring to a humour column in the newspaper and a cartoon that dealt with the widespread homosexual rumours."

It would be tempting to file the incident away as just another example of journalistic gaybaiting meeting government homophobia in response, but the situation is a little more complex than that. Publisher Kalafi Moala founded Taimi 'o Tonga in 1989 as a pro-democracy newspaper, and its frequent exposés on government corruption have earned the paper periodic trouble with the local authorities ever since. Moala is a Tongan native, but fled the island due to government harrassment -- in 1996 after publishing supressed information about the attempted impeachment of a Minister of Parliament, Moala, his Tongan office manager Filokalafi 'Akau'ola, and pro-democracy MP 'Akilisi Pohiva were jailed for 26 days in what the Tongan Supreme Court would later call an unlawful attempt to stifle the newspaper. The paper has in fact been banned several times in the past. In 2001, Police Minister Edwards filed criminal defamation charges against the paper's deputy editor, Mateni Tapueluelu, after he wrote an op-ed piece on police and prison officers who he claimed were unfairly fired by the government.

The current ban has been hotbed of controversy since it was announced. Free speech advocates has lambasted the Tongan government for the move, prompting it to defend itself in near-hysterical terms -- including calling the paper, currently printed in New Zealand where its editor lives in exile, a "foreign newspaper". The more subservient local press, meanwhile, has fallen lockstep behind the official line, all but accusing the Taimi 'o Tonga of attempting to overthrow the government. One would have to conclude, therefore, that the offending cartoon was more an excuse to pull a longstanding thorn from the Tongan monarchy's side than anything else.
Posted @ 1:45 AM by Dirk Deppey | permalink



Thursday, March 27, 2003

Schulz lawsuit against IMCA settled
(Comic Strips) The Charles M. Schulz Trust has settled
its lawsuit against Mort Walker and his currently-homeless International Museum of Cartoon Art, after the Museum returned 19 original Peanuts strips to the Trust; fifteen strips demanded in the lawsuit, and four others to compensate for strips that "couldn't be found". The lawsuit charged that Walker had in fact sold four of the strips, which were loaned to the museum by Charles Schulz in 1978 -- Walker denies the charge. Editor and Publisher reports:

"Michael Kotler, counsel to IMCA, confirmed that the suit has been settled.

"Jeannie Schulz, widow of Peanuts creator Charles M. Schulz, has said the trust will use returned comics for display at the Charles M. Schulz Museum and in traveling exhibits. The suit was filed last fall in Sonoma County, Calif., where the Santa Rosa-based Schulz museum opened in August 2002."

As part of the settlement, The Museum of Cartoon Art agreed to continue looking for the missing strips.
Posted @ 3:20 AM by Dirk Deppey | permalink


CBLDF joins MPAA against Winter Brothers suit
(Comic Books) The
Comic Book Legal Defense Fund has signed on to an Amicus Curiae brief, along with the Motion Picture Association of America and other creative-content trade groups, to support DC Comics, Tim Truman, Sam Glanzman and Joe Lansdale against a lawsuit filed by musicians Johnny and Edgar Winter. In 1996, the Winter Brothers sued over a parody of themselves which appeared in the artists' 1993 DC Comics series Jonah Hex: Riders of the Worm and Such. The suit was dismissed in 1996, only to be reinstated in 2002 by California's Second District Court of Appeal. The CBLDF's press release explains what the organization considers to be the important arguments in favor of the defense:

"The CBLDF and Amici focus on four points in the MPAA brief: '1) the appropriately high level of First Amendment protection afforded to traditionally protected audio-visual, literary and dramatic works; 2) The Court of Appeal’s disregard of California Civil Code Section 3344’s express definitional limitation to products, merchandise, or goods; 3) The inapplicability of the transformative use test to publicity rights claims based upon traditionally protected expressive works; 4) The importance of adopting a brighter line and more protective standard for publicity rights claims arising from disputes involving such expressive works.' "

It seems obvious to me that the Winter Brothers parody in question is in a similar vein to such satires as regularly appear in Mad Magazine all the time, and that a loss in the case could harm the ability of artists to comment on the world around them without unreasonable fear of repercussion. As CBLDF Director Charles Brownstein noted, "Should the California Supreme Court uphold the lower court’s view that the Winters’ right to publicity was violated, it will impose a chilling effect upon the First Amendment rights of authors, cartoonists, filmmakers, and other creators of expressive works when they use public figures in the context of their work."

The case is scheduled to be heard by the California Supreme Court on April 1st.
Posted @ 3:20 AM by Dirk Deppey | permalink


It's trophy season!
(Editorial Cartooning) We may be three months into 2003, but they're still giving away awards to cartoonists in commemoration of work done last year. Here's two of the latest:

  • WittyWorld reports that Australia's Melbourne Press Club awarded its 2002 Graham Perkin Award for the Australian Journalist of the Year to John Spooner, editorial cartoonist for The Age. The prize was part of the organization's annual Quill Awards, held on March 10th. A full list of winners can be downloaded here in PDF format.

  • Meanwhile, the American Association of Editorial Cartoonists is reporting that "editorial cartoonists Bruce Plante of the The Chattanooga Times Free Press and Chris Britt of The State Journal-Register in Springfield, Ill., are the first and second place winners of the 21st Fischetti Editorial Cartoon Competition sponsored by Columbia College Chicago." The two winners will be honored at a reception on May 1st; details are available at the link.

Do you think that maybe by June we'll be through celebrating 2002? Hahaha -- little joke, there. While we're on the subject, a reminder to all you comic-book pros out there that nominating ballots for the 16th Annual Harvey Awards must be received by April 4th.
Posted @ 3:20 AM by Dirk Deppey | permalink


An Epic bait-and-switch
(Comic Books) At times I'm sorely tempted to just rename this weblog Hey Kids, Let's Kick Bill Jemas in the Nuts! (Updated Daily) and get it over with. Honestly, I don't think it would change the tone of the thing much. This morning I woke up, looked over what I'd written
the night before and thought to myself, "Well that was a bit rude. Did I really just encourage readers to heckle the president of Marvel Comics at a library event likely to be packed with children and young teens? Will his own kids be there? Haven't I gone too far this time?" Really, sometimes I wonder exactly where my campaign of hate and vitriol in the name of creators rights and good comic books is taking me.

Fortunately, Jemas will invariably hold a press conference and remind me that, if anything, I'm being far too kind to Marvel's slimy corporate weasels. Just a few short hours after my pangs of guilt, Bill Jemas and Marvel editor-in-chief Joe Quesada held a press conference to formally announce the launch of Epic Comics. In so doing, they confirmed what my email had been telling me for weeks -- starry-eyed, inexperienced newcomers will be offered watered-down contracts that offer less than full ownership of the works created, and while Jemas and Co. want to work with "riskier concepts", the use of Marvel's backstock of properties is encouraged. As Heidi MacDonald put it in her report for The Pulse:

"The question of ownership was raised. Naturally, Marvel characters will be company owned, but on new concepts, Marvel and the creators will have shared ownership of revenue. There is a shared revenue stream that is fair to both sides, and the creators who have been approached have found it acceptable. Jemas indicated that although he had a legal background, he was long since 'defrocked', and wasn't aware of who would own copyrights or trademark.

"Jemas' views on creator ownership may raise some eyebrows. 'This is really about creator freedom and compensation much more than creator rights, the deal is right in line if not more favorable than what the other companies offer for creator owned properties. Certainly I've been through a handful of creator-owned deals where the creator read their contract and while they owned the copyright, they can't do anything with the property. There's probably a piece of paper filed in the copyright office with their name on it. I don't know what the copyright issues [are] about, but I know the revenue sharing is fair and the exploitation is fair.' Creators will participate in all revenue from merchandising, licensing, television and repackaging."

Summing up: Jemas -- the company president, mind you -- didn't know offhand who would get the copyright and trademarks on "creator-owned" properties, but immediately began dismissing the importance of such things just to be on the safe side. Inspires trust, doesn't it?

Further down, MacDonald quotes Jemas spinning the bullshit fast and furious:

"...'I think the [word] Creator rights is really thrown about by people who don't understand it. Mark [Millar, author of the line's first title] is a supporter of creativity and creative freedom and Epic gives creative freedom in a very, very significant way. And the creators that I know and respect care more about their freedom than their rights. That's a legal term that comes up. I really appreciate the fact that Mark wanted to get this line off with credibility.'..."

Translation: "Thanks for baiting the hook, Mark!"

How serious is Jemas' commitment to creator-friendly contracts? Journal readers are dissecting that one on our message board even as I write this, but what it sounds to me like Jemas is proposing is a variation on the old First Comics contract -- ownership is split contractually in such a way as to be functionally meaningless to anyone but the company, and God help you if the relationship breaks down and you want to move "your" title to another company. According to what's currently on Epic's website, you have to sign a work-for-hire contract just to submit a "creator-owned" work to begin with -- come to think of it, I may well be slandering First with the comparison.

In any event, it's not like people haven't signed "creator-participation" contracts in the past. Howard Chaykin co-owned American Flagg! with First. Seen that series reprinted in book form lately? The demand for the classic early stories is doubtlessly still there, but can anyone get their hands on the right to publish them? Can Chaykin?

When Jemas called the Epic deal "right in line if not more favorable than what the other companies offer", he was almost certainly lying through his teeth. Back before Fantagraphics had signed its deal with W.W. Norton, Dan Clowes and Chris Ware wanted their latest graphic novels (David Boring and Jimmy Corrigan, respectively) to get good representation to real bookstores, but there wasn't much evidence that Fantagraphics would be able to deliver at the time -- so they sold the collection rights to Pantheon. When Stan Sakai got a better offer from Dark Horse, he was able to move Usagi Yojimbo out of Fantagraphics' hands because Sakai owned Usagi Yojimbo. The same goes for Chester Brown, who took his series Yummy Fur from Vortex to Drawn and Quarterly without major incident. Even Matt Howarth's cult-favorite title Those Annoying Post Brothers has passed through at least three publishers that I remember offhand (and I hear that a new series based on the milieu is in the works). Ownership has its privileges, not the least of which being ultimate control of the work and the ability to keep it in print even if your current publisher doesn't want to do so.

The truly sad thing is that Archie Goodwin, editor for the original Epic line, fought long and hard to guarantee real creator ownership of the works he published. As a result, J.M. DeMatteis and Jon J. Muth were able to take their pioneering graphic-novel Moonshadow to DC Comics, and Elaine Lee and Mike Kaluta were able to explore their options with Starstruck after Epic stopped publishing the title. Everything Marvel has announced so far seems tailored to ensuring that such circumstances never again occur. Heaven forbid the properties slip out of Jemas' greedy little fingers.

Know your rights going in, kids -- and for goodness' sake, don't sign anything your lawyer hasn't looked at and explained to you first. Once you sign that dotted line, it's more likely than not that your creations will never be yours in any meaningful sense, ever again. As for Bill Jemas, it occurs to me that there are people in this world who could well profit from a daily kick in the nuts...
Posted @ 3:20 AM by Dirk Deppey | permalink


I ain't nuthin' but a Goreyhound
(Cartooning) Finally, the folks at
Bugpowder alert us to a radioplay, The Gorey Details, which celebrates the life and work of macabre cartoonist Edward Gorey. The drama will be performed today from 2:15 to 3:00 PM GMT on BBC Radio 4, after which it will be archived on the web in RealAudio for one week; click here to listen.
Posted @ 3:20 AM by Dirk Deppey | permalink



Wednesday, March 26, 2003

England loves Joe Sacco
(Graphic Novels) Well, England's booksellers, anyway. Over at
Bugpowder, a still pre-sabbatical Pete Ashton links to an entry on the weblog of Andy Roberts, who aside from being a British small-press cartoonist is also an employee for U.K. bookstore chain Waterstone's. Checking through the company's sales listings, he discovered that Joe Sacco's book Palestine, recently released in Britain by publisher Jonathan Cape, has done very well by the standards of the U.K. publishing world:

"It's sold 1,833 copies. I compared this to a few others. Probably the best-selling graphic novel in bookstores to date is Art Spiegelman's Maus. Volume 1 of Maus has sold 1,770, volume 2 has sold 1,330. (Penguin are finally doing a combined edition for the UK this October.) Alan Moore and Dave Gibbons' old favourite, Watchmen, has done 1,450 over two editions.

"Both Maus and Watchmen have been around for well over a decade. Sacco's book has been out for two months. This makes it the best-selling graphic novel, in Waterstone's stores at least (which is the biggest book chain in the UK), of all time."

Noting that "1,800 copies in two months makes it a bestseller, especially considering the price", Roberts concludes that Sacco's book demonstrates that not only can comics be sold in British bookstores, but that graphic novels on mainstream subjects can reach an appreciative bookbuying audience if given a venue from which to do so. Go Joe!
Posted @ 3:35 AM by Dirk Deppey | permalink


New York hates Ted Rall
(Editorial Cartooning) Well, the readers of The New York Press do, anyway. The feisty alt-weekly just released the results of its
Fifty Most Loathsome New Yorkers reader poll, and Rall took the number-two slot, eclipsed only by Maxim editor Keith Blanchard in his ability to summon reader disgust. Here's Rall's runner-up entry:

"Maybe Ted first captured your heart with his blocky cartoon scamps that appear in every lazy, predictable alt-weekly in the country. Maybe you were inspired by his impassioned and daring campaigns against such scourges as internet spam and student loans. (What’s next, Ted? Barking dogs? Rainy days?) Maybe you’ve already slept with him, since to hear him tell it, Ted’s cock is a diamond-hard, unrelenting pussy magnet. Or, quite possibly you’re one of us—those who’ve suffered through enough of Ted Rall’s comics and editorials and television and radio appearances to know that he’s just another self-righteous shitheel who coasts on self-created controversy and tells himself that any publicity is good publicity. Much like Loathsome New Yorker #3, Michael Moore, Ted Rall’s attempts at political commentary and liberal activism do more harm to the cause than any amount of conservative clampdown. For someone who describes himself as a 'First Amendment purist,' he sure does spend a lot of time telling other people what to say, and we’ve had enough."

Ouch. Other notables in the Press Hall of Infamy include Ann Coulter, Henry Kissinger, Woody Allen, Patti Smith, Martha Stewart and That Guy in the Huge Calvin Ad at Houston and Broadway. Should I congratulate the winners?
Posted @ 3:35 AM by Dirk Deppey | permalink


Australian muslims hate the Queensland police
(Gag Cartooning) In Australia, cartoons from recent issues of the
Queensland Police Union's monthly journal have sparked outrage among the nation's Islamic community. Queensland Police Minister Tony McGrady has called upon the union's general president, Gary Wilkinson, to apologize. The Melbourne Herald Sun explains what prompted the controversy:

" The cartoons and photo-montages taken from the internet depict familiar icons as the authors suggest they would look if Islamic fundamentalists conquered the West.

"In one image a sign for fast-food chain McDonald's is altered so the golden arches are the humps on a camel's back and the name is changed to McHammed's.

"A second cartoon shows the cover of men's magazine Playboy depicting bikini-clad women wearing veils."

Mr. Wilkinson hasn't quite issued the requested formal apology, but the Australian Broadcasting Corporation's lunchtime news-program The World Today (RealAudio link) carried a statement the union president made to the press, which walks up pretty close to the line:

"It's a union publication and we have an employee that puts it together and they get dozens of cartoons or whatever sent in to them every month, and someone's made a choice to publish that one, either thinking it was funny or topical.

"And it really isn't funny, and as I say, it is a bit insensitive under the circumstances and as I said to the employee, I said it's really the wrong time to be publishing unfunny cartoons along those lines and we shouldn't have done it."

The protest does seem to have had at least one effect: the online archive of the trade publication seems to have been removed, with only a partial, non-working link to the February 2003 edition remaining.
Posted @ 3:35 AM by Dirk Deppey | permalink


Bill Jemas loves libraries
(Subject) Well, he loves public appearances, anyway. The Marvel president will be making one such appearance this Saturday in New Jersey.
The Princeton Packet has the details:

"Mr. Jemas, 43, will talk about the comic industry and the more serious side of Captain America and the revamping of the Spiderman series at the program aimed at teenagers and adults, taking place at 2 p.m. Saturday at the Princeton Public Library.

" 'For the characters to be important, for the literature to be important, (the industry) has to constantly take a close look at what's happening in the world and take a close look at your characters so they're important to the readers,' said Mr. Jemas -- who also developed the Ultimate Marvel teen line, which sells almost 500,000 copies per month. He is a co-writer of Ultimate Spiderman and conceived and co-wrote the plot for the best-selling [Origin] miniseries."

Now how could they forget his magnum opus Marville, I wonder? Sad to say, I won't have the opportunity to attend this fine event, which is a shame -- he'll doubtlessly be taking Q&A from the audience, and I just happen to have a few things I'd love to ask him. As a public service to any stray ¡Journalista! readers who happen to be in the area at the time, here's a handy list of questions you might want to bring along with you:

  1. If 50,000 of your readers take your advice and start saving your comics as collectables again in hopes that they'll appreciate in value, how will they ever become rare enough to do so?

  2. If you can't even be trusted to honor a written contract with Stan Lee, is there anyone who can trust you?

  3. Are the Sequential Tarts whores or sluts?

  4. When talking about distribution at staff meetings, has anyone ever just smacked their foreheads and declared, "Hey, I just thought of something -- do you think it's possible that this might just piss retailers off at us even more?"

  5. Isn't the Tsunami line just this year's Disco Dazzler?

  6. Rawhide Kid: Slap Leather received "Marvel Max" status despite the fact that he never comes right out and says he's gay, but straight-acting Northstar's presence in Uncanny X-Men hasn't stopped you from selling that book in Walmart. Aren't you really just trying to protect children from people who swish when they walk?

  7. When you refer to yourself as a "writer", do your co-workers giggle?

Remember: Bill Jemas likes being as confrontational as possible when dealing with the fans, so asking questions like this in front of potential new readers is just a friendly way of letting them know what they can expect. Trust me; he'll thank you later for playing along.
Posted @ 3:35 AM by Dirk Deppey | permalink



Tuesday, March 25, 2003

Marvel releases annual report
(Comic Books) Marvel comics released its
10-K report for 2002 last Friday, which provided a more detailed look at the company's activities last year than was available in its quarterly reports. Just glancing over the report, a few facts jumped out at me:

  • Newsstand and bookstore net revenues grew by just 5% last year -- a surprisingly low figure when one considers just how much growth the manga publishers and some indy publishers have seen in this arena in recent years. The direct market still accounts for 76% of net for Marvel's publishing division, down 4% from 2001 (the publishing division also derives a relatively small degree of income from subscriptions and advertising). Not as big a bite as one would expect, given how much energy the company has devoted to talking up its bookstore plans.

  • Over a third of Marvel's net revenues on toys for 2002 were related to Spider-Man -- the only character to account for more than 10% of such revenues, which further reinforces the notion that movie appearances rather than comic books fuel demand for superhero toys.

  • Foreign licensing revenues jumped over three-fold in the past year, to almost $32 million. Virtually the entire increase is attributed to "revenues generated in Hong Kong".

Also, in 2002 one-time creditor HSBC Bank USA exercised the last of the warrants granted it by Marvel to purchase 750,000 common shares in the company. This sounds massive until you realize just how many shares of Marvel common stock are floating around in the marketplace -- at the company's October 15th, 2002 stockholders meeting, a total of 52,359,593 shares cast votes to elect James Halpin to Marvel's board of directors.
Posted @ 1:15 AM by Dirk Deppey | permalink


DC makes minor changes to superhero, gets inexplicably rare press
(Comic Books) While Marvel Comics has made great strides in recent years to increase its public profile, rival DC Comics is another matter altogether. Case in point: the latest issue of Wonder Woman finds the titular heroine cutting her hair short and donning a camoflauge bra (pardon me -- "bustier"). It doesn't sound like major news, but tell that to
MSNBC:

"The makeover is part of Wonder Woman's latest six-part adventure, a harrowing scenario in which she gets amnesia and must fight demons without her superpower strength. Luckily, her brains out-muscle the brawn.

"In Issue 190, Wonder Woman decides she must go undercover if she is to survive her ordeal and reclaim her identity.

" 'She's bright and when she realizes she's getting attacked she thinks she probably ought not to look like herself,' said Wonder Woman writer Walter Simonson of DC Comics. Simonson expects readers to have mixed reactions to the new look."

Not exactly an Earth-shattering change, right? Wrong. This is, after all, an American icon we're talking about here, however faded she may be. Just this simple cosmetic change led to the above Associated Press puff-piece appearing in newspapers here, here, here, here, here, here, here, here, here, here, here, here, here, here and here, and on local news websites here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, here and here. I should note that this is only a partial list.

This begs the obvious question: if DC Comics can generate quick press through such a flimsy excuse, why doesn't it do so more often? Why is it Marvel can grab pixels and column inches seemingly at will, while their Distinguished Competition remains almost narcoleptic by comparison?

I have an anecdotal answer to the question. Years ago, I had a friend who was ugly -- we're talking Joey Ramone ugly, here -- shallow, self-absorbed and only superficially able to communicate on any meaningful basis with the opposite sex; the sort of weaselly, backstabbing cad who'd prompt you to take up arms if he ever got too close to your sister. Yet, to the astonishment of me and all my friends, the guy seemed to be in the pants of a different beautiful woman every week. He never had a problem living off the wages of some reliably employed girl or other; I never saw him work an honest day in the years that I knew him, and he always seemed to have several girls to screw around with behind the back of the woman supporting him at a given time.

Befuddled by the carefree way he violated my otherwise high opinion of feminine common sense, I once asked a mutual female acquaintance how he could possibly get away with it. Her sardonic reply: "If you dangle it in our faces long enough, we're likely to eventually give it a try the first time we find ourselves bored enough to notice." As Peter Bagge once noted in an old Hate letter-column (I'm paraphrasing here): "Stinky gets laid because he asks the ladies!"

Marvel tries; DC never bothers. It really is as simple as that.
Posted @ 1:15 AM by Dirk Deppey | permalink


Comics and politics
(Cartooning) As tensions heat up over the war, political satire takes on more importance than usual. So why is it so seemingly absent from the funnies in your local paper? Writing for
The New York Journal News, Marshall Fine sets out in search of answers (Link courtesy of Egon):

"In Garry Trudeau's Doonesbury, published in more than 1,200 newspapers around the country (including this one), darts have been tossed at, among other things, President George W. Bush's budget policies, the run-up to war and what they see as an American sense of empire.

"In Aaron McGruder's The Boondocks, a three-year-old strip featured in 275 newspapers nationwide, McGruder's tart-tongued African-American characters have made sport of national jitters about the war on terrorism and the policies of Attorney General John Ashcroft, among other topics.

" 'Sure, there's the two of them -- and who else?' says cartoonist Jules Feiffer."

Actually, the article goes on to list several notable examples, including most of the usual suspects: Ted Rall, Tom Tomorrow, Keith Knight, Wiley Miller, Lalo Alcaraz and others. Still, despite the relative ability of these cartoonists to get their respective message out, they still stand in sharp relief next to the more milquetoast denizens of the comics page.

The situation is a little better in the editorial cartoons, of course. Speaking of which: journalism web-portal Poynter Online has just inaugurated a new column, which looks at the craft behind political cartooning. As columnist Howard Finberg observes:

"Being an editorial cartoonist is not much different than being an editorial columnist. In fact, you can make the argument, as it has been made to me, that the process is the same. You have a view that you want to share with your audience; you develop your ideas and decide how best to communicate your thoughts. You do a draft, which is sometimes tinkered with by an editor. Finally, you complete the work and hope that your readers understand the point you were trying to share."

The column promises to look at the creative process of a different editorial cartoonist each week; while I doubt Rall or McGruder would find opening artist Jim McCloskey to be much in the way of a hell-raising toon rebel, perhaps future interviewees will have more to say about the pleasures and perils of challenging one's readers.
Posted @ 1:15 AM by Dirk Deppey | permalink



Monday, March 24, 2003

TCJ Audio Archives: Arnold Roth
(The Comics Journal) Sorry for the delay -- this month's
Audio Archive is now online, containing excerpts of the Journal's 1991 interview with magazine cartooning legend Arnold Roth. Four files, clocking in at just over an hour's worth of conversation and covering everything from TV Guide to Humbug to Punch. The files stay online until April 18th -- stop laughing, you jackals, I'm serious. Go git 'em!
Posted @ 2:35 AM by Dirk Deppey | permalink


Pro-war cartoonist found at last
(Editorial Cartooning) My hunt for a pro-war editorial cartoonist has become a
running joke on this page -- editorial cartoonists are almost universally against the Gulf War, save for a few online reservations and the occasional holdout. In retrospect, my mistake was to assume this represented some kind of "liberal vs. conservative" dichotomy, which discouraged me from looking for cartoonists with practical reasons to favor war. The most consistant group in this regard have been Iraqi exiles.

We met one last Wednesday, though he now works as a fine artist; today's example is Amer Rashad, who at one time was editorial cartoonist for As Sawra, the house organ of Iraq's ruling Baath Party, where he worked under editor-in-chief (and later Iraqi foreign minister) Tariq Aziz. So why is he now drawing anti-Hussein cartoons in exile? Florida's St. Petersburg Times spoke with him and found out:

"As Hussein brutally exercised his power, Rashad chafed under the constraints imposed on journalists working for a government-controlled newspaper. Some of his friends were killed; others left the country or simply disappeared. Rashad made his break shortly after the 1991 Gulf War, when he fled to Jordan, then moved to Tunisia.

"There he illustrated literary magazines, did posters for the Ministry of Culture and published two books of drawings that showed the suffering of the Iraqi people. But Iraq's embassy in Tunis began to harass him, so he returned to Jordan three years ago."

Rashad now publishes cartoons in Kuwaiti and Tunisian newspapers and publications for Iraqi exiles in London. I wasn't able to find any further examples of his work online.
Posted @ 2:35 AM by Dirk Deppey | permalink


Ted Drake wins bowling trophy
(Gag Cartooning) I would've thrown this in Sunday Scraps yesterday, but at the time the website link wasn't responding. Three years after his death at the age of 92, cartoonist Ted Drake won the 2002 Professional Women’s Bowling Association Cartoonist Award. For details, let's go to
Bowl.com:

"The award honors individuals past and present for meritorious service and contribution to the humorous side of the sport. The selection was announced by PWBA President John Falzone during the 70th BWAA Convention in Knoxville, Tenn.

"Drake produced art for more than 50 years. His talent was first used commercially during World War II when he edited and drew cartoons for the U.S. Navy’s Pre-Flight School in Iowa City, Iowa. After the war, he worked as a freelance artist for the Wilson Sporting Goods Company."

Drake is best known for creating Notre Dame's "Fighting Irish" mascot.
Posted @ 2:35 AM by Dirk Deppey | permalink


On other websites
(The Comics Press) Beginning a new semi-regular feature here at ¡Journalista!, here's a round-up of some of the more interesting articles being published on comics-related websites right now:

  • In the latest issue of The Comics Journal, Tom Spurgeon argued against the attitudes behind what he called "Team Comics". Arguing from the "pro" side at Comixpedia, writer T. Campbell examines the intricacies of Team WebComix.

  • Echoing Jen Contino's reservations, retailer Rick Shea seems to have had just about enough of the inappropriate content found lately in Marvel's allegedly "child-accessible" comics. (Note: temporary link. A tip of the hat to NeilAlien for spotting it.)

  • Over at Comics -N- Such, writer "ajabby" discovers creators have opinions, and is appropriately horrified. Can't we all just write about Batroc the Leaper? This whole "real life" thing is just, you know, frightening and stuff. It confuses and annoys readers. Somebody, please hold me -- I'm all a'scared now.

  • Guest Illustrators have taken over Achewood -- today's installment is by James Kochalka, and it's funnier than fuck.

My general practice up to this point has been simply to withhold links like these for Sunday, but it occurs to me that the Scraps pile is usually pretty damned big. Further episodes of "On other websites" will be issued as circumstances demand and I bloody well feel like it.
Posted @ 2:35 AM by Dirk Deppey | permalink


Monday Mailbag
(Commentary) Here we go with another dip into the inbox. Let's begin with our ¡Journalista! Fuck-Up of the Week™ -- our first correspondent speaks:

"Love Journalista! . . . but you wrote:

" 'It's convention season in Canada! This weekend, those of you on the left side can check out the Vancouver Comicon, while next weekend those on the right side have the star-studded indy extravaganza The Toronto Comic Art Festival to look forward to.'

"Toronto is more in the middle, located by the great lakes."

Geography retard, thy name is Deppey. But enough about me; let's talk movies. Our next correspondent is skeptical of the claim that Daredevil was a bonafide money-loser, which I made during my last turn at the Marvel Movie Doomsday Theory:

"You're leaving out the DVD/Home Video Factor. Daredevil won't break any records at the BO, but I'll bet it sells hella amount of DVDs -- just as Blade and X-Men (both movies that didn't exactly set the US box office on fire during their theatrical runs, although X-men did good business) sold big on home video before it."

It'd pretty much have to. I strongly suspect Daredevil's going to close without recouping its costs, which means that the flurry of initial sales still be paying off the remainder. Let's set aside the "Simpson's Rules" quoted by the film geeks at Fametracker and assume that this film only needs to double the money spent in order to be considered successful -- that's still $123 million in DVD sales PLUS whatever Daredevil failed to recoup in the theaters. Bear in mind also that foreign box-office has been mediocre so far -- I don't have the energy to look up the current figures, but last week the film had done roughly $8.6 million in England and half a million in the Philippines (good luck doing well anywhere near the Asian market with a film whose action sequences are as poorly done as Daredevil's). Finally, a reminder that the reported BO figures are gross, not net -- the theaters take a bite before Fox gets its hands on the cash. Adjust the high-bar accordingly.

I'll believe it when I see it.

(Incidentally, Franklin Harris has responded to last week's response to his response to my original crack at articulating the theory. There's not really enough there to merit further discussion, but manners dictate a link.)

Our final correspondent offers a technical qualifier to my coverage of Marvel's recent stock conversion, in which I described the transformation of Preferred stock to common stock as "ending one more drain on the company's profits":

"Strictly speaking this is incorrect since the preferred dividend is actually a distribution of profits, not a drain on profits. What the move does do is stop a drain on cash flow, which will then probably be used to pay down debt on which the interest payments are a drain on profits."

My terminology was inexact, but I assume most readers got what I was grasping at. Nonetheless, I stand corrected. Like the sidebar says, send email to weblog@tcj.com -- all email is considered anonymous unless you volunteer otherwise, and assumed printable unless you say otherwise.
Posted @ 2:35 AM by Dirk Deppey | permalink



Sunday, March 23, 2003

Newspaper apologizes to candidate for cartoon
(Editorial Cartooning) To settle a lawsuit. Missouri newspaper The Columbia Daily Tribune has printed an apology to failed school-board candidate Henry Lane for a cartoon it printed in 2001 lampooning him. The apology specifically noted that the Daily Tribune editors did not believe the cartoon to be unlawful, but has decided to apologize in order to buy peace.
The Jefferson City News Tribune has Mr. Lane's reaction:

" 'I'm very happy with it. I guess in summary I got everything I wanted,' Lane told the Tribune.

"He had blamed the cartoon -- which Lane said depicted him as a sexual deviate -- for his third loss in a local school board election. He is again running for Columbia's school board."

The paper also agreed to pay the perrenial candidate's legal expenses and remove the cartoon from its web archives. Come next election, Lane won't have the "sexual deviate" label hanging over him -- just the emnity of the local newspaper and a reputation as a thin-skinned buffoon who can't tell the difference between nouns and verbs.
Posted @ 3:15 AM by Dirk Deppey | permalink


Sunday Scraps
(Potpourri) The following are a series of links that have collected in my notes but for a variety of reasons never made it to this weblog before now:

  • The TCJ Book Club, a semi-official graphic-novel discussion group that meets on our message board, has started dissecting its latest title, Jason Lutes' Jar of Fools. Mr. Lutes being a co-founder of the club, he is of course on hand to discuss his creation, but don't let that stop you from being critical of the work. Click here if you'd like to participate.

  • Yesterday I mentioned a cartoon from Britain's Sun tabloid which lampooned French President Jacques Chirac. I couldn't find it on their website yesterday, but today the weblog Outside the Beltway very kindly provided the link I was looking for -- here it is. Also, one of my readers sent me a link to this cartoon by Pat Oliphant, which offers a variation on the same theme.

  • Over at Comicon, Jen Contino looks at two Marvel comics which depict stripteases and alcohol consumption among the superhero set, and wonders how they wound up with the relatively mild "PG" rating. Personally, I wonder why Marvel's actions still surprise her...

  • Towards the end of this week's edition of Breakdowns, Chris Allen prints a letter from Checker co-publisher Paul Dubuc which provides a fascinating look at how graphic novels are solicited and marketed in the bookstore trade. It's worth a read.

  • Over at Dynamic Forces, meanwhile, Rich Johnston offers the first of two columns giving would-be publishers advice on how to get their works accepted by Diamond for distribution.

  • Pete Ashton, who founded the British indy comics portal Bugpowder, has announced that he will be taking a sabbatical on a farm on the Isle of Wight for at least several months. Ashton is no longer the only person contributing to the website, and expects it to carry on in his absence. Here's wishing him a safe journey, and that his eventual return finds him rested and ready to again pick up the yoke.

  • Pennsylvania's Ardmore Main Line Times interviews famed cartoonist and children's book author Maurice Sendak, whose work will be exhibited by a local museum through May 18th.

  • Heidi MacDonald recently spoke to Harvey Pekar, who's been awfully busy lately with the movie and a foray into the world of online comics.

  • Michigan's Battle Creek Enquirer chats with cartoonist Jonny Hawkins, who earns a living in the world of Christian publishing.

  • The Manila Times offers the most comprehensive history yet of Filipino comics heroine Darna, including word that her latest publishers are working with a distributor to bring the new series to America. That said -- they're asking for 70 percent? It sounds like someone's getting fleeced to me...

  • The Japan Times checks in with a solid overview of the current Japanese manga scene, including a general overview, a look at the copyright-breaking dojinshi underground, and an interview with manga scholar Fusanosuke Natsume, who seems almost disturbingly convinced that he's isolated the one true way to make comics.

  • Over on Slate magazine (non-Java link), Dan Rubinstein explains why Marvel Comics doesn't need to make The Rawhide Kid gay so long as it has the X-Men.

  • Italian comics portal Komix.it interviews The Comics Interpreter editor Robert Young, whose latest issue is due shortly.

  • Evan Dorkin has a message for comics commentators -- Please! Go! Easy! On! The! Exclamation! Points!

  • Speaking of cringe-inducing commentary: Australia's Daily Telegraph recently ran a piece on Stan Lee written by Glen Mitchell, who claimed that "Lee scrawled his first Captain America comic way back in 1939, one year after the debut of Superman." I bet that would come as news to Joe Simon.

  • Speaking of cringe-inducing commentary: John Byrne rehashes an old, old complaint about comics shops for a full essay without providing a single concrete example of what he's talking about. Also: is it my imagination, or are the sorts of comics Byrne likes the least likely to get the treatment he describes? Is Byrne a secret Peepshow fan, perhaps?

  • Speaking of cringe-inducing commentary: am I the only person who wonders how Brandon Thomas can use a phrase like "The New Hotness" without feeling like a plastic, cliché-dribbling jackass? According to rumor-meister Rich Johnston, Thomas is being considered as a writer for a possible book in Marvel's Epic line. I cannot tell you how funny I find this notion.

Twenty-four hours' notice is hereby given for you stragglers who have yet to download the Bissette/McCloud MP3s. Tomorrow sees the again-delayed next installment, when we post just over an hour's worth of excerpts from our interview with legendary magazine cartoonist Arnold Roth. See you then.
Posted @ 3:15 AM by Dirk Deppey | permalink



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