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Friday, January 9th, 2004

Dogsbody
(The Comics Journal) Our website's critic-in-residence Daniel Holloway returns with another set of reviews.
This time out he examines Outfitters #6 by Dick Troutman, and Urban Hipster #1 and #2 by David Lasky and Greg Stump. Check it out!
Posted @ 4:50 AM by Dirk Deppey | permalink


Today's news
(Potpourri) Let's take one last look and see what's going on, before we shut down for the weekend:

  • Egon points us to France, two comics-related prizes have been awarded in advance of the Angoulême festival, one related to the yearly event, one not. The official prize is the Prix Public du Meilleur Album, which this year went to Juan Diaz Canales and Juanjo Guarnido for the second volume in their Blacksad series. The unofficial award (temporary link) is the Prix France Info, a prize handed out by a group of nine journalists, which in previous years had been a part of the Angoulême awards ceremony but has been excluded this year due to its unofficial status. This year it went to Charles Masson for his book Soupe Froide.

  • Adweek describes something you don't see every day -- Warner Brothers actually using its cartoons to promote DC Comics.

  • The Korea Herald investigates Ewha Manhwa Love, a women-only comics shop located near Ewha Womans University. Its customers are reported to enjoy being able to read adult comics without being harrassed by nearby men. (Link via John Pierce.)

  • Tim O'Shea spoke with independent cartoonist and publisher Michel Gagné for Silver Bullet Comics.

  • Also at Silver Bullet Comics, Park Cooper conducts a two-part interview with webcartoonist Ursula Vernon.

  • The Christian Science Monitor pays tribute to Theodor Geisel, a.k.a. Dr. Seuss.

  • Writing for Toronto's Eye Weekly, Guy Leshinski sells superhero painter Alex Ross to the indy comics fans.

  • Ben Wooller reviews Immortality Isn't Forever, the first volume in Eddie Campbell's Bacchus series, for Ninth Art.

  • Also at Ninth Art, Alex Dueben laments the way comics publishers have abandoned readers ages 9-12.

  • Broken Frontier's Matt Maxwell (temporary link) ponders the death of the caption in genre comics.

  • Mike Gagnon offers tips for indy comics publishers on how to write press releases.

  • Want to know what happened to the now-defunct weblog Termite Terrace? Steven Wintle has the answer.

  • Johanna Draper Carlson notes that the past week's storyline in the daily comic strip Funky Winkerbean has concerned a comics shop going out of business for lack of sales. Here's the week's run: Monday, Tuesday, Wednesday, Thursday, and Friday.

  • The revered comics character Tintin turns 75 tomorrow. (Thanks to Arthur Manolias for emailing me the link.)

Finally, a quick note to Rose, who has a few objections to yesterday's commentary about a recent John Byrne column: the original French editions of Marjane Satrapi's Persepolis was released in smaller volumes, yes, but books all the same. Joe Sacco's last two original books, Safe Area Gorazde and The Fixer, were never serialized in comics form. More to the point, Sacco's audience has come primarily from bookstores, so I don't see how the pamphlet serialization of Palestine could have affected his reputation, since none of his current readership has ever seen the original comics. Note also that Sacco had decided early on to stop using serialization to subsidise his work, prefering instead to "wait for the trade" before publishing -- if Byrne were talking even an ounce of sense, doesn't it stand to reason that Sacco's success shouldn't have occured?
Posted @ 4:50 AM by Dirk Deppey | permalink



Thursday, January 8th, 2004

In passing: Art Wetherell
(Comic Books) The British pop-culture website
Down The Tubes (temporary link) is reporting that veteran cartoonist Art Wetherell died on December 25th of a perforated stomach ulcer. Wetherell created comics in a wide variety of genres, from various Marvel U.K. titles to Dark Horse's line of Star Wars comics. Wetherell was also one of the first artists published by Fantagraphics as part of its Eros Comix line, creating such titles as 2 Hot Girls on a Hot Summer Night and Treasure Chests. Writing for the website of Norway's Raptus Festival, Arild Wærness reminisces about the artist:

"I remember meeting him for the first time, at Bristol in 2000. Frode and I had just completed our very first Raptus presentation of the Norwegian comics life. Outside the sweaty hall we were met by two earnest guys, Dave Windett and Art. They told us their main excuse to visit Bristol that year was to meet up with us (as representatives of the Norwegian comics industry).

We were very impressed with this show of respect, of course, and during the rest of the weekend we spent considerable time together with the two. I was especially thrilled to meet the artist behind one of my favourite comics series of the mid-Nineties; The Searchers. Frode started running up plans for their visit to Raptus in the autumn, and it was decided that Art would take top billing due to his background in Dark Horse/Star Wars strips. Thus, Art Wetherell shared the poster with Mort Walker at Raptus 2000!

"At Raptus, Art performed in fine form, entertaining and informing the Norwegian public in a quiet, self-effacing way about his work, pencils and inking. Bringing with him his family, he gave as much time as possible to the crowds, making sketches for young kids and old."

(Thanks to Vince Moore for alerting me to the story.)
Posted @ 3:55 AM by Dirk Deppey | permalink


Ali Lmrabet free at last
(Censorship) In an apparently unexpected development, Morocco's King Mohammed yesterday pardoned over thirty political detainees, including editor and publisher Ali Lmrabet. Lmrabet, as longtime readers of this weblog will recall, was serving a four-year prison sentence (later commuted to three years), after being convicted in May of last year for publishing cartoons and essays critical of the Moroccan government in his publications Demain Magazine and Doumane. He was expected to have been released late yesterday, according to this
BBC report:

"His case had drawn international criticism, particularly from the United States and Spain.

"The BBC's Pascale Harter in Morocco says the decision to pardon Mr Lamrabet is seen as a personal gesture by King Mohammed, intended to signal a new chapter in Morocco's human rights and justice record.

"During his time in prison, Mr Lamrabet had twice gone on hunger strike to protest against his conviction. "

As always, the spelling of Arabic names varies wildly depending upon the source; "Lmrabet" is the version most commonly by journalists discussing the case. I've been following this story for a long time, and it's nice to see a little justice finally come Mr. Lmrabet's way, even if it is a day late and a dollar short -- he should never have been imprisoned in the first place. Congratulations to Ali Lmrabet for succesfully enduring this harsh trial of conscience.
Posted @ 3:55 AM by Dirk Deppey | permalink


In other news
(Potpourri) But wait, there's more! Here's what else is happening in the world of comics and cartooning:

  • The British comics and animation site Toonhound (temporary link) is reporting on rumors that the venerable comic book The Dandy may be facing cancellation. No official word has been issued, but comics fans in the U.K. have been attempting to persuade the comic's publisher, DC Thomson, to save the famed comics magazine. (Thanks to Christopher John Lyons for the heads-up.)

  • Anime News Network is reporting that manga juggernaut Tokyopop has named Dennis McGuirk, a former marketing executive for Chrysalis Children's Books, to be its retail sales director for the United Kingdom.

  • The film adaptation of Harvey Pekar's American Splendor continues to gather accolades -- yesterday it was voted best picture of 2003 by the Los Angeles Film Critics Association. Reuters has the story.

  • Is Spider-Man aligned with the Axis of Evil? J.R. Labbe of Jewish World Review was taken aback when he discovered the Marvel shirt he bought as a Hannukah present was made in Syria. (Link via Monitor Duty's Michael Hutchison.)

  • Indy cartoonist Peter Conrad is one of the cartoonists taking advantage of a novel new way of packaging his work -- by reframing it for the Palm Pilot operating system. Silver Bullet Comics explains.

  • Kendrick Goss profiles cartoonist and man-of-a-thousand-anthologies David Lasky for Interstitial Arts. (Link via Artblog.)

  • The Seattle Post-Intelligencer catches up with Jim Woodring, whose found himself to be a bit unsettled by the runaway success of his recent hardcover The Frank Book.

  • I don't have a link for it, but ICv2 is reporting that Joe Sacco is the subject of what it calls an in-depth career overview in the January 22nd edition of Rolling Stone.

  • Over at The Pulse, Wendy Pini answers Jennifer Contino's questions on the various new collections of her Elfquest saga. One comment: during the course of interview, Pini expresses her gratitude to DC for allowing her to correct a faulty color hold during the proofing process. This is, so far as I know, standard procedure; otherwise, why go through the expense of having proofs printed in the first place? It's not like actual books had been printed. I don't get it.

  • Jennifer Contino also interviews Rich Tommaso about his new book for Jeff Mason's Alternative Comics imprint, 8½ Ghosts.

  • I don't even need a hook for this: one of the best comics reviewers on the internet, Movie Poop Shoot's Chris Allen, has a new column up. Go read.

  • The Orlando Sentinel's Tod Caviness examines the work of Graham Annable. (Link via Rick Bradford.)

  • Shawn Hoke sings the praises of cartoonist Jessica Abel for Broken Frontiers (temporary link).

  • The Comicbookslut tries to look on the good side -- and finds one! (Okay, it's another goddamn "year in review." I'm very sorry, and promise not to do it again really this time I mean it trust me you betcha... aww, hell, I might as well link to this one too and be done with it.)

  • Dave Intermittent evaluates the oral arguments for Todd McFarlane's appeal of the Spawn lawsuit successfully waged by Neil Gaiman.

  • Shawn Fumo would like to see comic book companies actually study manga and attempt to discern why it's so successful, rather than simply writing it off. Christopher Butcher, meanwhile, thinks that quick action is probably expecting too much.

  • Cartoonist Colleen Coover suggests that a generation of manga-reading women will prevent comics-reading men from giving up the funnybook jones, and concludes that manga can therefore only be a good thing for Western comics. You know, it actually sounds logical if you think about it for a moment.

  • Tim Broderick thinks that some of my recent posts about the bookstore market for graphic novels highlight the fact that "the graphic novel shelves are no place for independent creators." I think he's a bit premature in his doomsaying, myself, but read it and judge for yourself.

  • David Allen Jones, a.k.a Johnny Bacardi, is the latest writer to join the comics weblog collective Four Color Hell.

  • Mike Sterling remembers an embarrassing meeting with longtime X-Men writer Chris Claremont.

  • Steven Wintle reviews the 1970s-era Wonder Woman #246, in which our heroine washes her costume at an apartment complex in Hell.

  • Scott Marshall, meanwhile, reminisces about the first issue of Marvel's Mad clone, Crazy. Incidentally, a word of advice: I can't speak for anyone else, but I try whenever possible to link to writing rather than people -- if you're going to email me a link you want to see posted here, make it a link to something specific that you think people would want to read, rather than just a homepage. I can't promise I'll link to each suggestion, either, but if I pass on one item it doesn't necessarily mean that I'll pass on the next. Finally, please bear in mind that I'm something of an asshole.

  • Writing in the comments section of Kevin Melrose's weblog, a very funny Mr. Max Maxwell eviscerates the thinking behind Marvel Age, Marvel Comics' planned remake of the original Ditko/Lee Spider-Man series. (Link via Graeme McMillan.)

  • Pot calls kettle black -- news at 11! Yes, Matt Brady is busting on The Pulse:

    "you get the idea that the word is getting out to start taking the piss out of these cookie cutter interviews? I mean, Ryan and Andrew did it, Nicieza did it, and now Daniel..."

    Cookie cutter interviews? As opposed to just handing your news-site over to Jim Lee so he can interview his boss, his editor and the people he publishes? Don't get me wrong: the lack of editing over at The Pulse is pretty funny, but boy, if there's a single person missing the credibility necessary to point fingers, Matt Brady is the man. (Brady link pulled from this Comicon.com thread.)

  • Pathetic Geek Stories, The Onion's long-running comic strip, has left its old home and moved to a website all its own. (Link via Metafilter.)

  • John Pierce links to a wonderfully weird cartoon site from Korea called Snow Cat. I think he's right to highlight this strip.

  • Congratulations to webcartoonist Spike, who married her colorist, Matt Sheridan, last Saturday. (The news comes courtesy of Scott McCloud, of course.)

Finally, John Byrne stands athwart history and says "Stop!" in his latest column for "Underground" Online, which collects his various arguments for why trade paperbacks are killing the funnybook industry into a single, compact pile of nonsense. Byrne claims that if enough people find themselves waiting for the trade, the resulting low sales might convince some publishers not to collect a given series into book form in the first place. Sadly, he forgets to explain why anyone should care. A comic with longterm reading potential, after all, stands a good chance of thriving in book form, so the only publishers likely to fall victim to such logic are either stupid or publishing mediocre dreck in the first place. Even if you restrict yourself to genre comics, Byrne's own publisher DC Comics has already released several successful, original comics in book form, most recently Ellis & Doran's Orbiter and Gaiman & Company's Sandman: Endless Nights. Byrne's argument only works for creators whose publisher views their output as indistinguishable "product" in the first place -- you know, like John Byrne comics.

Byrne also makes the following argument as to why publishers cannot live on graphic novels alone:

"They would cost too much to produce, without the initial impact being amortized by the comics, and the higher price -- $40, conservatively -- would put them well out of the reach of most of those 'new readers' the industry so often claims to be courting. One thing to spend $5 over a couple of months to check out a new title. But $40, or even $20? For something you might not like?"

Please note that Byrne's "unamortized" cost of producing an original trade paperback undoubtedly includes the fat page rate that he now earns cranking out superhero comic books. By contrast, other comics publishers have issued piles of original graphic novels by this point, with artists offered somewhat lower advances than the gelt to which Byrne is accustomed, balanced by the possibility of additional checks generated by royalty percentages down the line. This is a system often referred to by prose publishers as "publishing." I'm sure all concerned would like to see more creators earning John Byrne money, but in the world of graphic novels, alas, it's not to be -- most of the oxygen in the Direct Market is currently sitting in Marvel and DC lungs, and without a dedicated comics sales network supporting them, most publishers have had to go abroad into other markets just to stay in business. Given this, one has a hard time feeling much sympathy for the beneficiary of a system that lavishly subsidizes his work at the expense of everyone else. Byrne's argument amounts to little more than "please don't derail my gravy train."

Moreover, consider the notion that no one will pay for a $20 book without having read it in pamphlet form first. Can anyone who's given the bookstore market even a cursory examination do anything but laugh? How does Byrne think hardcover prose novels sell? The argument's equally idiotic where graphic novels are concerned. Picture Craig Thompson, Joe Sacco and Marjane Satrapi smacking their foreheads and crying, "Why, God, why didn't I listen to John Byrne when I had the chance!?!" Mind you, Thompson, Sacco and Satrapi produce works that the average person in the street might actually want to read...
Posted @ 3:55 AM by Dirk Deppey | permalink



Wednesday, January 7th, 2004

Today's news
(Potpourri) Things have slowed down a tad, but there's still a fair number of headlines and links to run through. Here we go:

  • Newsarama breaks the news that Marvel Comics marketing communications manager Michael Doran has been fired. As Matt Brady notes halfway down the first page of the thread, no further details have presented themselves -- therefore, you definitely shouldn't speculate as to whether or not this was another example of Bill Jemas' crew being cycled out of the office by his replacement, Dan Buckley, and that Doran's rumored hopes that he'd made enough friends outside of Jemas' now-discredited circle to survive his patron's downfall proved to be very much in error. Just don't, okay?

  • Will the last person to leave CrossGen please turn out the lights?

  • Also at ICv2, here's your exclusive distribution deal for the week. This week's guest star: MV Creations!

  • The Eisner Award judges for 2004 have been announced. They are retailer Greg Bennett, Entertainment Weekly editor Marc Bernadin, consultant Melony Crawford Chadwick, Cartoon Art Museum curator Andrew Farago, and Diamond Distribution's Filip Sablik. You can read the press release at The Pulse.

  • The website of Belgian cartoonist Lectrr was recently vandalized by hackers, according to a post by Jeroen Mirck on our message board. You can also see two of the deleted cartoons at that last link.

  • Internationally renowned cartoonist R.K. Laxman will be granted an honorary doctorate from Mysore University, reports The Times of India.

  • Editorial control of the comics news-site Newsarama has been turned over to cartoonist and Wildstorm founder Jim Lee for the week. As you might expect, many interviews with Wildstorm creators and much hyping of Wildstorm product ensues. No, I can't tell the difference, either. Anyway, for those of you keeping score at home, there are interviews with Howard Chaykin, Ed Brubaker and Joe Casey, and even a conversation with Rosetta editor Ng Suat Tong to help take your mind off the obvious. Between this item and the Mike Doran bit above, I will now receive an angry and defensive letter from Matt Brady in five... four... three... two...

  • Silver Bullet Comics' Tim O'Shea interviews Dean Haspiel about his recent superhero work, his indy comics, and his collaborations with Harvey Pekar. Added bonus: a panel from Pekar and Haspiel's story for the next volume of DC anthology Bizarro Comics.

  • This week, Craig Lemon and Dawn Donald have the clue.

  • In a long and well-articulated essay for Comic Book Resources, Steven Grant explains why manga won't crash the same way the Direct Market has twice and counting.

  • Want to see the exact opposite of that Peter David thread I linked to yesterday? Here's a group of comics and manga fans at The Drawing Board, trying to figure out why American publishers can't pull their heads out of their asses to save their lives. (Link courtesy of Steven Wintle.)

  • Speaking of the Peter David thread, Glen Engel-Cox and Jim Henley are still discussing how it shines a spotlight upon serious structural problems within the comics industry.

  • John Jakala notes that supehero movie ticket sales don't really translate into superhero comics fans.

  • Ron Phillips explains why he hates comics news sites built into message boards.

  • British comics writers in their underwear, or the fight you've been waiting to see for the past decade? (Link courtesy of Darren Shrubsole.)

Let's close out with a return trip to the website where mocking bad comics isn't just a duty but a way of life -- Gone and Forgotten. This time out, a trip through questionable nostalgia brings us to that oh-so-classic comic, Superman Meets the Quik Bunny. All apologies for the link; I just can't help myself. (Thanks to Jason Marcy, who sent me a-wanderin' around the site.)
Posted @ 3:20 AM by Dirk Deppey | permalink



Tuesday, January 6th, 2004

Borders brings "category management" to its graphic-novel shelves
(Comics Retailing) Client Distribution Services, the company responsible for distributing Tokyopop and Marvel (among others) to bookstores, has landed what can only be called a sweetheart deal: the right to serve as "captain" in the Borders book chain's attempt to apply an inventory practice known as "category management" to its graphic-novel selection.
ICv2 has the details:

"Focus groups were conducted with purchasers of graphic novels at Borders stores, and that research has been shared with the CDS group, which is now meeting with Borders to develop recommendations on such issues as placement of the graphic novel department within the store, what other departments it should be close to, signage, organizing the merchandise, and ways to highlight the category. No buying recommendations are made, although the merchandising strategy can affect mix. After the committee completes its work, Borders upper management will review the recommendations and determine what will be implemented."

Let's answer the obvious question first: what is category management? Put as simply as possible, category management is a means of tracking sales in a given store based on a given set of variables. As the Grocery Manufacturers of America explain it:

"Category Management, one of the four main tenets of the Efficient Consumer Response initiative, is the management of entire product categories as strategic business units, with assortment, inventory levels, shelf-space allocation, promotions and buying all managed as a whole. The practice has enabled many manufacturers to judge more accurately consumer buying patterns, product sales and market trends of that category. By emphasizing profits and sales for entire product groups rather than individual items or brands, manufacturers and retailers can often enjoy a longer-term, joint focus on marketing and merchandising."

The practice doesn't end at the retail level, however; tracking data is shared along the distribution food chain as well, allowing manufacturers and distributors to better co-ordinate incentives to retailers with those that the retailers use to entice customers to buy a given product. This provides all involved with more information about sales and buying patterns, which in turn allows greater accuracy in promotions and marketing strategies. As Andrzej Gorecki explained in a 1996 issue of Retail Directions:

"Category management also means reaching forwards and backwards within the supply chain. Forwards, toward customers, to understand their preferences and needs, and to align categories with market and customer expectations. It also means targeted promotional programs aimed at improving the performance of individual categories.

"And backwards, toward closer relationships with suppliers, to help them align their activities with the needs of customers, and to assist the retailer in the minimisation of costs within the supply chain. Retailer and suppliers can now cooperate on the basis of category plans, rather than on a short term, deal-by-deal and product-by-product basis."

Here's where we get to the interesting part. To best facilitate this process, one vendor is usually picked to act as consultant for a given category of products -- usually one of that product's manufacturers, who in exchange for paying a fee can recieve marketing data accumulated from the process, and even have a say in which products get preferential treatment on the shelves. A year ago, the National Association of Convenience Stores posted an introductory primer on the subject to their website:

"Brian Harris, co-founder of the Partnering Group, is credited with coining the phrase category management. In 1994, he did the first industry-sponsored pilot at Giant. Harris used a 'category captain' -- a vendor chosen to help select the products that would get shelf space. The category captains used in the trial were Coca-Cola and Procter & Gamble. In those categories, Giant reclaimed market share that had been taken by Wal-Mart.

" 'That really validated the model,' said Harris.

"Business 2.0 writes that, 'Today every major U.S. consumer-packaged-goods retailer, from Albertson's to Petsmart practices category management. Even at Kmart, Target and Wal-Mart, what you see on the shelves is largely the result of recommendations by category captains like Gillette, Nestle Purina and SC Johnson.' "

It goes without saying that given enough power to make purchasing decisions for retailers, manufacturers can find themselves with the opportunity to gain shelf-space at the expense of their competitors; indeed, companies have been busted on such behavior. Writing for the British law website Legal 500, S.J. Berwin examined an American district court case where the Conwood Company claimed that a competitor, the United States Tobacco Company, tried to use its status as a category captain to exclude its competition in the chewing-tobacco market from store shelves. USTC was eventually found to be in violation of the Sherman Act and ultimately fined over $1 billion in penalties:

"Documentary evidence proved that USTC sought to use its position as category manager to exclude the competition by recommending that retailers carry fewer products, particularly competitors' products. In this regard, Conwood presented evidence that the category management programme was used to ensure that outlets only had USTC racks which were dominated by its products. Further evidence of its abusive intent were USTC's attempts to control the number and price of value brands stocked in stores and its suggestion that stores carry USTC's slower-moving products instead of better-selling competitor products. A 1997 report by a USTC regional vice-president stating 'it is imperative that we continue with this category management action plan to eliminate competitive products' was crucial evidence of the company's intent to abuse its position as category manager."

You can see where authors and publishers might get nervous when this sort of regime is introduced into the booksellers' market. And nervous they are; in June of 2002, shortly after Borders Group CEO Gregory P. Josefowicz announced his intention to introduce category management to his bookstore chain, a group of authors and scholars organized by consumer advocate Ralph Nader sent Josefowicz an open letter asking him to reconsider:

"According to the May 20, 2002 Wall Street Journal, you have devised 250 categories for books, each to be captained by a publishing firm. These firms will pay you a large annual fee -- in excess of $110,000 according to the Journal -- which will be hard for most small and medium-sized publishers to muster. In return, the 'captains' will be able to decide which books you carry, how many are bought, and where they are placed. Although you say you will keep final authority over book-buying, Borders will be an agent of the publishers rather than of its customers.

"Under your plans, smaller publishers will be at a big disadvantage, since each publisher-captain will be able to deploy your shelf space to its own advantage. In categories rich in small press titles, the publisher-captain will be able to cut the number of titles in the category, and fill the category with its own titles.

"Denied shelf space in a major outlet like Borders, smaller publishing houses will be hard pressed to survive. The Kremlin would have found it difficult to invent a more subtle and effective way of suppressing original viewpoints and ideas."

Is this alarmist thinking? There isn't enough evidence at hand to tell one way or the other, but it's a disquieting notion nonetheless. Moreover, there is limited anecdotal evidence which suggests that concern may be appropriate. Posting to the message board of the Borders Books Employee Union, a Borders employee using the pseudonym "abbath" (second post) wrote:

"[...] As an employee of the Gurnee Borders since it opened three years ago I have seen the variety in titles decrease. Over a two-week period Borders barely had half the books featured in The Chicago Tribune's Sunday book section. On 3.2.03 Borders had 7 out of 15 books featured in the Tribune's book section, and on 3.9.03 they only had 7 out of 19 of the featured titles. The entire bestseller list was available, and therein lies the rub. If a consumer wants anything outside of a bestseller they will now be forced to go elsewhere to find it, and since the chain stores (Borders, Walden, B & N) move into an area and put independent stores out of business there is nowhere else to go."

Let's freely grant that someone using the contents of a press release to agitate for union membership may not be the most objective witness for signs of trouble. Likewise, given the cacaphony and uncertainty in how graphic novels are currently being presented to the public on bookstore shelves, having someone from within the comics industry offering advice seems like a good idea, at least in the abstract. Even so, it's easy to imagine circumstances where a distributor whose two biggest clients are Tokyopop and Marvel might not necessarily be acting in the interests of other publishers when making recommendations about shelving, promotions, subcategories within the graphic-novel umbrella and the like. Noting the growing controversy over a year ago, comics writer and weblogger Sarah Dyer offered this perspective:

"Whatever your viewpoint, if you read or write material that is sold in bookstores, this will affect you sooner or later. Borders will eventually apply this system to their entire inventory, and you can bet that since it apparently is working for them really well, that everyone will be doing it sooner or later. My questions (this may not make complete sense to you if you haven't read any of the articles): will graphic novels be their own category, or get lumped into a category headed by some publisher who couldn't care less? If they are their own category, will they be a 'destination' (i.e. important) category, or dismissed as a 'fill-in'? If they are a category, who on earth will be offered the captaincy? If certain publishers who are already known for filling up rackspace with garbage to shut out other publishers got chosen, we'd all be doomed…although I think chances are good it would be offered to a manga publisher. The possible goodside to this is that market research into what is actually selling, and what people are really coming in for, could really help keep graphic novels in the stores, rather than going through the whole flameout everyone's expecting (assuming market research doesn't tell them to kick all graphic novels to the crub). And really, you know they'll lump superheros together—will I cry when they say only 12 superhero 'novels' can be in each store? I'm thinking... no."

In the ICv2 article from which we began, Tokyopop vice president of sales Steve Kleckner was quoted as being "very positive" about the deal. I don't doubt it for a moment. With the category captain now having been announced as CDS, it seems likely that Tokyopop's perspective on bookselling will certainly get a hearing. Likewise Marvel. This still leaves some serious questions to be considered. Will CDS and its client companies have access to sales data from other graphic-novel publishers? How seriously should we take the notion that CDS won't be given input into purchasing decisions? If I were a non-CDS publisher, I'd be watching developments at Borders very closely right now.
Posted @ 6:00 AM by Dirk Deppey | permalink


In other news
(Potpourri) Here's what else is happening in the pen and ink world today:

  • Two journalists, Youssef Rezzoug and Fatma Zohra-Khalfi, were each given two-month suspended prison sentences in an Algerian court on December 31st for "illegal assembly and threatening public order." Their crime? Protesting the jailing of editorial cartoonist Ali Dilem and Le Matin editor Mohammed Benchicou on September 8th of last year. IFEX has the Reporters Without Borders news alert.

  • Meanwhile, tomorrow could find publisher Ali Lmrabet facing another four months in jail, on top of the three-year sentence he currently serves for publishing cartoons and articles critical of the Moroccan government. Amnesty International shines a spotlight on his plight, and demands his release.

  • Neil Gaiman notes that oral arguments for Todd McFarlane's appeal of Gaiman v. McFarlane, a lawsuit centering around McFarlane's alleged inability to honor various oral contracts between himself and Gaiman over Spawn, took place yesterday in the Seventh Circuit Court in Chicago. You can hear the arguments for yourself, courtesy of a 4.5 MB "mpeg" MP3 file archived at this link.

  • Modern Tales gets a little competition, as a new subscription webcomics collective, PV Comics, makes its debut. You can read the press release at Silver Bullet Comics.

  • I missed this: Columbus, Ohio alt-weekly This Week ran a report last month on the local small-press comics scene. (Thanks to Dara Naraghi for emailing me the link.)

  • Gene Yang's The Rosary Comic Book has been named one of the ten best books for children and young people by the Catholic Book Publishers Association. America Magazine has the lists.

  • Writing for Florida's Orlando Sentinel, Steven Cole Smith interviews Patrick McDonnell, creator of the daily strip Mutts.

  • I know I promised an end to the "year in review" wraps, but how can anyone possibly refuse a good Heidi MacDonald column? Go to The Pulse and read.

  • Movie Poop Shoot's Marc Mason reviews Kyle Baker: Cartoonist. It occurs to me that the whole "Should it be a movie?" schtick, perfunctorally inserted at the end of the column this time out, seems to be little more than an gimmick -- it's a good review, but could easily have been trimmed of that last bit without anyone even noticing.

  • Sucks to be scooped, doesn't it, Rich? Sean Collins administers the necessary beatdown.

  • Steven Wintle notes that the folks at The Beguiling are looking for volunteers to assist them in planning for the next Toronto Comic Arts Festival (contact info at the link).

  • Either editorial cartoonist Daryl Cagle is taking a break from his weblog, or he really wants your help in saving Rick Stromoski and Steve McGarry's daily comic strip Mullets.

  • John Jakala dissects an attempt to downplay the success of Shonen Jump.

  • Publisher Brad Templeton (Ty's brother, incidentally) offers an article that may be of interest to all you webcartoonists, image samplers and BitTorrent comics fiends -- "10 Big Myths about copyright explained." (Link via xBlog.)

  • Incidentally, did you know that Ty Templeton offers the first four issues of his late, lamented series Stig's Inferno for free download on his website?

  • Kevin Melrose takes down Brandon Thomas' latest exercise in goofiness. I'm tempted to complain that Melrose forgot to make fun of Mr. New Hotness' single-sentence paragraph addiction, but by this point I suppose that's just a given, isn't it?

  • Everyone and their mothers are linking to this Comicon thread, in which Peter David accuses comics buyers who wait for trade paperbacks rather than purchase the serialized comics pamphlets of fucking with his meal ticket destroying the way the Direct Market has always done business. Johanna Draper Carlson, Nat Gertler, and Kurt Busiek write in defense of the consumer. For bonus points, there's also a multipart discussion going on over at John Byrne's forum, in which Byrne suggests bombarding bookbuyers with plot-spoilers in order to discourage "yet another thing driving nails into the coffin of this industry." Such mass commentary in the comics blogosphere does my heart good. Isn't it nice to know that whatever our beliefs, whatever our tastes, we can all come together in this new year and agree that Peter David and John Byrne are jackasses of the highest order?

  • This just in: Warren Ellis hates hippies.

  • It's an American truism: another generation, another Charles Atlas ad cartoon parody. (Link via Boing Boing.)

Finally, Matthew Craig wrote in to correct me on a link in yesterday's "in other news" entry -- it seems that Shropshire is a county, not a town as I described it. All apologies to any Shropshire readers for the goofy geographical confusion.
Posted @ 6:00 AM by Dirk Deppey | permalink



Monday, January 5nd, 2004

In passing: William Sandeson, Ray Gotto
(Cartooning) Two recent deaths in the cartooning community came to light over the weekend. They are:

Following up on a story first reported last week, British newspaper The Telegraph presents a detailed obituary for comic-book cartoonist Don Lawrence, who died at the age of 75.
Posted @ 6:00 AM by Dirk Deppey | permalink


In other news
(Potpourri) Quite a bit turned up over the weekend, so let's get right to it:

  • Over at Silver Bullet Comics, Markisan Naso (eighth item down) summarizes the precarious legal position comics scholar Arlen Schumer finds himself in over the illustrations in his new book, The Silver Age of Comic Book Art. It seems DC and Marvel are contemplating legal action, claiming that their art is used to an excessive degree in the book in an attempt to pressure Schumer into paying royalties for both it and any contemplated future volumes. In theory, the usage of the contested art is sanctioned by fair-use provisions in Federal copyright law. In practice, however, defending said usage could cost Schumer considerable money in legal fees...

  • This is only tangentially related to cartooning, but here goes: back in May of last year the reformist Saudi newspaper Al Watan ran a cartoon in the wake of a bombing in the foreign quarter of Saudi Arabia's capitol, Riyadh, which connected the bombing to Muslim clerics preaching for violent retribution against perceived enemies of Islam. In virtually any other nation, such a cartoon would have merely been one voice among many, calling for an end to religious extremism and leading to badly-needed reforms. Instead, the newspaper's editor-in-chief, Jamal A. Khashoggi, was unceremoniously fired, a signal that the brief thaw for free expression in the Muslim holy land had come to an end. How did such a bizarre set of circumstances come about? In an article otherwise unrelated to cartooning, Foreign Affairs' Michael Scott Doran explains in great detail the intricacies of the struggle between Saudi Arabia's hardline clerics and the reformers who would push them from power, and how that struggle ultimately led to Mr. Khashoggi's exile in London over a political cartoon. (Link courtesy of Arts & Letters Daily.)

  • The National Society of Film Critics has named the film adaptation of Harvey Pekar's American Splendor as the best picture of 2003; the film was also celebrated for best screenplay. Washington's Tacoma News Tribune has the Associated Press report.

  • Silicon Times, a start-up publishing house devoted to Chinese and Korean comics, is the latest company to sign a distribution deal with Diamond Book Publishers to get their wares into bookstores. ICv2 has the story.

  • In addition to the piece on Don Lawrence linked above, The Telegraph also provides our introductory primer on comics for adults for the week, with nods to Harvey Pekar and Joyce Brabner, Joe Sacco, Marjane Satrapi, Larry Gonick and Scott McCloud. Meanwhile, Missouri's St. Louis Post-Dispatch looks at the "graphic novels in bookstores" phenomenon, including this bit:

    " 'I believe I will outlive the comic book medium,' says Mark Farce, owner of All American Collectibles in St. Louis. 'My die-hard customers will just keep getting older and older. I don't see young kids coming into stores to buy comics. I think the trades have re-tapped into the 25 to 30 year olds who were into comics, got married, sold their comics and are now wandering back in. But when we get young customers in with say a gift certificate they won at a Yu-Gi-Oh tournament, the last thing they're interested in is comic books.' "

    This is a problem in many comic-book shops.

  • The Associated Press' Sarah Lynn offers a short report on the thriving comics scene in Portland, Oregon, focusing mainly on Blankets author Craig Thompson, but also highlighting Dark Horse Comics publisher Michael Richardson, cartoonist Joe Sacco and comics writer Greg Rucka. The Salem Statesman Journal carries the story.

  • Sean Collins graces us with an interview with cartoonist and illustrator Phoebe Gloeckner, which was originally meant to be published in the magazine he once co-edited, Abercrombie & Fitch Quarterly, before sectarian zealots seemingly scared the fashion chain into cancelling it. A previously-unpublished photocomic by Ms. Gloeckner is included as well. It's a fascinating, in-depth conversation with a top-notch artist who often seems to have been unjustly overlooked over the years, even (as Collins correctly notes) by The Comics Journal itself. Also noted: Phoebe Gloeckner has begun a weblog. (Thanks again to Mr. Collins for the heads-up.)

  • World Famous Comics' Bill Baker speaks to Charles Brownstein, director of the Comic Book Legal Defense Fund.

  • Newsarama's Matt Brady profiles Kyle Baker, whose new collection of cartoons is only the first stage in a planned self-publishing empire.

  • Writing for The Toronto Star, a certain Mr. Ho Anderson offers interviews Chester Brown, using his new hardcover graphic novel Louis Riel as a starting point in a career-spanning profile.

  • The Pulse's Jennifer Contino chats with Andi Watson about his various projects. Man, this guy gets around, doesn't he?

  • New Jersey's Hudson Current interviews Union City alt-cartoonists Cheese Hasselberger and Brian Musikoff. You can find photos taken for the article at this TCJ.com message board thread.

  • Russ Radcliffe, the editor of Best Australian Political Cartoons 2003, speaks with Louise Saunders of Australian radio station ABC Tasmania about the new book. You can listen to the interview in RealAudio format at this link.

  • Comixpedia's Damonk spoke to webcartoonist Sean Howard, who recently found himself at the center of a copyright controversy over message-board avatars.

  • The Wichita Eagle checks in with Kansas State assistant professor Philip Nel, who's just written a new critical study of cartoonist Theodor Geisel, a.k.a Dr. Seuss.

  • Silver Bullet Comics' Tim O'Shea profiles Christian Beranek, editor-in-chief for the fledgling comics publisher Silent Devil Productions.

  • Simon Greaves, a former teacher in the British town of Shropshire, has decided to adapt the plays of William Shakespeare to comic-book form, providing modern-day translations alongside the original dialogue. The books are designed as teachers' aids; three have been completed to date. The Shropshire Star checks out how he's coming along with the project.

  • The Kansas City Kansan interviews local aspiring cartoonist Anthony Jappa, whose plans involve creating comics for sale on CD-ROM.

  • Over at Four Color Hell, Bill Sherman reviews Craig Thompson's Blankets. Should I start breaking out the "Craig Thompson link of the day" jokes, or did the whole Aaron McGruder thing run that one right into the ground?

  • Newsarama's Troy Brownfield sings the praises of Box Office Poison creator Alex Robinson.

  • Writing for Broken Frontier (temporary link), Graeme McMillan has decidedly mixed feelings about Marvel's latest attempt to update Spider-Man for a younger audience.

  • Over at Ninth Art, meanwhile, Paul O'Brien takes a look at the latest attempt to widen the superhero concept, DC's Focus line.

  • Movie Poop Shoot's Terrence J. Brady returns with yet more examples of stupid fanboys paying entirely too much for comic books wrapped in plastic cases.

  • In a surprise plot twist, Steven Wintle has returned to blogging, checking in with big essays on the state of the industry, and the importance of Dave Winfield's floating head in Archie comics.

  • Actor and weblogger Wil Wheaton laments the lack of media attention received by a holiday toy drive organized by Penny Arcade creators Gabe and Tycho, which resulted in over $200,000 worth of games and toys being donated to the Seattle Children's Hospital. (Thanks to Metafilter for pointing this out.)

  • There's a couple of interesting items over at Jim Henley's weblog at the moment. First, Henley wonders whether Clowes' decision to flesh out Eightball #22's "Ice Haven" suite is really such a good idea. He also relays a conversation he recently had with someone from Dark Horse Comics, who told him that some form of legal distractions were keeping Michael Chabon's first official foray into the funnybook world, The Amazing Adventures of The Escapist, from seeing print any time soon.

  • Rick Bradford points to the December 31, 2003 edition of The East Bay Express (temporary link), which features a local and national "year in review" section told entirely in comics, courtesy of Wahab Algarmi, Trevor Alixopulos, Stephen Buel, Josh Frankel, Fredo, Malcom Gay, Hellen Jo, David Lasky, Michael Mechanic, Thien Pham, Lark Pien, Jesse Reklaw and Chris Thompson.

  • The folks responsible for Lambiek's excellent online comiclopedia are looking for further information on artists for whom their current biographical information is incomplete. Click here to view the list of cartoonists with which they're asking for help. (Thanks to Jeroen Mirck for posting this to our message board.)

  • The pop-culture weblog gmtPlus9 links to a retrospective site for The Bazooka Group, a collective of French artists and cartoonists who made their mark in the mid-1970s. You can also catch up on what two former Bazooka Group members, Kiki and LouLou Picasso, have been up to lately at this site.

  • FAQs.org provides us with an etymological history of the word "foo," which found its way into English via Bill Holman's classic Smokey Stover comic strip. (Link via Boing Boing.)

  • A quick correction: Ask any learned comics fan who created Spider-Man, and the reply will be Steve Ditko and Stan Lee. Ask some hack writing for The Hollywood Reporter who created Spider-Man, and the reply will be Stan Lee.

Finally, I had originally planned to respond to David Fiore's latest attempt to redefine comic-book shops as only fit for superheroes, but wound up spending too much time over the weekend digitizing audiotapes for the archives, and never managed to get around to it. I'll see if I can't do so later in the week, but in the meantime Franklin Harris has a pretty interesting take on the subject that you might want to check out.
Posted @ 6:00 AM by Dirk Deppey | permalink



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