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Saturday, February 8, 2003

Our final comics preview: Mack White
(The Comics Journal) Closing out our series of previews from the comics section of The Comics Journal Winter 2003 Special Edition, on sale now at finer blah blah blah, is a trip through the Grassy Knoll with Villa of the Mysteries creator Mack White. Enjoy!
Posted @ 2:30 AM by Dirk Deppey


The Stranger responds to cartoon clamor
(Comic Strips) As I
told you Thursday, cartoonist David Lasky had checked into our message board to let our readers know that Seattle weekly newspaper The Stranger was changing out its comics page in favor of a single, full-page color comic strip, which would then be farmed out to different cartoonists each week. A minor debate over this state of affairs ensued. Within days, Fantagraphics marketing kingpin Eric Reynolds had posted responses emailed to him from Editor Dan Savage and Design Director Joe Newton. Savage first:

"The Stranger is not, contrary to what you may have heard, dropping or eliminating comics from our pages. We are, however, making some changes. In place of three comic strips that we've been running, we're going to be running some larger, one-off comics. This means that the work of more comic artists is going to find its way into the pages of The Stranger.

"We will also still be running Maakies, Jim Woodring, and Lloyd Dangle's Troubletown, in addition to a single large-format comic that features different artists every week. The three artists whose strips are being dropped have been invited to be regular contributors to the large-format comic slot.

"While we had to cut a page of comics last year -- and while that bummed us out -- it by no means should be interpreted as The Stranger, or the paper's editor (that would be me), hating comics or having it in for comics or wanting to remove them from the paper. The comics lost a page around the same time our paper lost many pages due to the contracting economy in the Seattle area. We used to run two pages of Stranger Suggests, but Suggests is now one page; we used to run two and half pages of film reviews, now we run one and half pages. Our features are shorter, our letters section is smaller. I could go on. The sad reality is that whole paper shrunk last year. While we used to have regular issues in that were 126 pages or more, our regular issues these days are about 108 pages. We simply can't include everything that used to appear in a 126 page paper in a 108 page paper.

"The work of comic artists has always been important to The Stranger. We continue to have a full-page dedicated to their work every week, and almost half of the covers we run every year are by comic artists. If comics are the reason you pick up the paper now, you'll still have good reason to keep picking up the paper. Again, the paper is not cutting comics. No space was cut from comics with this announcement. We're going to have the same amount of space for comics this year as we had last year. The only difference is that we're going to have the work of more comic artists cycling through the paper."

Next up is Newton's reply:

"Although it has been saddening and frustrating to see our comics page dwindle in size, I do think this is an exciting opportunity to expose Seattle-ites to some new faces, and to some artist's whose work hasn't been seen in the paper for years. The Stranger does have a grand history with comics. And your letters to the editor acknowledging and commending that will have a positive effect.

"I do want to point out to those who don't know how free papers function, that advertising has no editorial sway over comic content (at least not here). Also, the amount of space for editorial content (incl. comics) is based on how many ads we sell each week. The ratio of ads to content has not changed at all. And although there are a lot of ads in the paper, it is what makes us able to make it free. The decrease in overall editorial space is directly linked to ads.

"Beyond that, as the paper size has shrunk is this lame economy, every section of the paper has decreased the amount of space, be it Theater, Movies, Visual Art, whatever. And EVERY one of these arts communities is bombarding the editor with complaints and demands that their community get more coverage. So the editor is being pulled at from all sides. There just isn't enough space to go around.

"That said, let it be known that I personally have lobbied to bring back the two page comics section right away. So do feel free to write letters to the editor. But write them in appreciation of comics, emphasizing why you think they are great and important, and deserving of more space. Accusations of wrong-headed behavior by the editor is likely to just get his hackles up.

"The decision to make this change has been really difficult, particularly considering the financial impact it has on those losing regular income. But I know that we are going to a lot of great new stuff in the paper, and get a chance to plug people's new releases while we're at it. Hopefully in the future we can bring back the second page too. if only the economy improves.

"Thanks for the interest and support in comics!"

Now that's what I call customer service. I'm taking a "wait and see" attitude towards the paper's new approach, partly because I can sympathize with the ecomonic argument, but mainly because after losing my weekly Acme Novelty Library fix, everything else seems like an afterthought anyway.
Posted @ 2:30 AM by Dirk Deppey | permalink


Tom Tomorrow agrees: it's a conservative cartoonist vaccum
(Editorial Cartoons) Thanks to everyone who's contributed links to
pro-war political cartoons (and to Kip Manley and Ampersand for advertising my search). I'll post the most interesting links on Monday. Until then, I should note that Tom Tomorrow of all people is himself pointing to a conservative editoonist shortage in an interview with The Buffalo News:

" 'I think there are no good conservative cartoonists. Good humor is about the real underdog taking on the powerful. That's what satire is about. Conservative humor is picking on people who have less than you. That's not satire, that's just mean.' "

(Link via Romemesko.)
Posted @ 2:30 AM by Dirk Deppey | permalink


A little question
(Commentary) Last Wednesday, Marvel Comics released its overhyped, bloodless, half-assed revamp of Western comics has-been The Rawhide Kid. In the two days since the bomb was dropped, their stock
has dropped by 62¢ per share. Coincidence?
Posted @ 2:30 AM by Dirk Deppey | permalink



Friday, February 7, 2003

Short Takes
(Potpourri) I've got a heavy schedule of activities coming up this weekend, not the least of which involves manning the Fantagraphics table at this Sunday's
Emerald City ComiCon here in Seattle. In a desperate attempt to adjust my sleep schedule just enough to allow me to show up on time, here are today's links in abbreviated form:

  • Fumetti.org (Google translation) is reporting that the United Nations is teaming up with the International Institute for Sustainable Development to produce a comic book meant to explain the economic-development philosophies of Nobel Prize-winning Professor Amartya Kumar Sen to people in South Africa, Kenya, Uganda, Zambia and Tanzania. The comic, which will be drawn by Kenyan artist Terry Hirst, will be distributed to educators and universities.

  • The latest edition of the AAEC Notebook is now online at the American Association of Editorial Cartoonists' website. Much of it recaps stories you've already heard here -- lots of tributes to Bill Mauldin, plus stories on Al Hirschfeld and Doug Marlette -- and also provides some background on some of the censorship problems editorial cartoonists face in Eastern Europe.

Fair warning -- the daily entries will probably be a bit on the light side this weekend.
Posted @ 2:00 AM by Dirk Deppey | permalink



Thursday, February 6, 2003

Is The Stranger dropping its comics page?
(Comic Strips) At the risk of turning ¡Journalista! into a rumor page, I should note that what follows is uncorroborated and should therefore be taken with the appropriate grains of salt. Over on our message board, cartoonist David Lasky related news he'd heard from one of the cartoonists published in Seattle alt-weekly
The Stranger, that the paper is on the verge of abandoning its once-mighty comics section in favor of a single, full-page strip, which would (the story goes) be drawn by a different cartoonist each week. The Stranger's comics page was once legendary; it launched several the careers of several notable cartoonists and once carried such strips as Chris Ware's Acme Novelty Library and Sam Henderson's Magic Whistle. Is the current scheme an attempt at revitalization or a last gasp? As Lasky wrote:

"The demise of The Stranger's comics section is also upsetting to me because the paper's history is so tied in to comics. James Sturm (Golem's Mighty Swing) was one of the founders of the paper. He brought comics into it from day one (he drew the cover to the first issue), and made sure that the cover always had a striking visual (differentiating it from Seattle's other free papers), often drawn by a cartoonist. (This weeks cover is by Ellen Forney!) Jason Lutes was the paper's art director in the mid-90's, and his acclaimed graphic novel Jar of Fools appeared in The Stranger, one page per week, before the rest of the world ever got to see it..."

It's not completely bad news; Tony Millionaire's Maakies is allegedly going to be kept on, and the paper is rumored to be sticking with Kaz's strip Underworld as well. Lasky goes on to urge readers distressed by this state of affairs to send email to editor Dan Savage and voice their distress (politely, please). Again: this is a rumor that's passed through several hands, and information may have been garbled along the way. Caveat emptor.
Posted @ 2:00 AM by Dirk Deppey | permalink


Insert APE pun here
(Comics Events) Another year, another Alternative Press Expo. APE 2003, one of the United States' two principal small-press comics gatherings, took place in San Francisco last weekend, and
Heidi MacDonald was there:

"By 3 o'clock on Saturday, the aisles of the lower level were so jammed that it was hard to get through, and getting close to a popular booth (like D&Q or Jordan Crane) or creator (Tony Millionaire or Robert Williams) required a bit of patience. Of course, it goes without saying that Jhonen Vasquez drew huge lines whenever he sat down. Vasquez remains one of the true superstars of comics, with a popularity far surpassing some people who are on the cover of Wizard every other month.

"Overall, publishers reported good to strong sales. As usual, publishers who put out books to debut at the show did very well. For instance, Alternative Comics did well with HICKEE, CUSP and the long delayed URBAN HIPSTER #2, whose David Lasky and Greg Stump seemed to be enjoying their extremely infrequent moment in the sun. (There were four years between issues.) 'We're going to do the next issue different,' Lasky promised, although greater frequency would ruin the joke."

That's four-and-a-half years, Heidi. If you must round off the figure, round up. You know, One of these years I'm going to have to find out exactly who I have to bribe to join the Fantagraphics delegation to this shindig.
Posted @ 2:00 AM by Dirk Deppey | permalink



Wednesday, February 5, 2003

Missouri Supreme Court to hear Twist/McFarlane case
(Comic Books) Just when Todd McFarlane thought
it was over, it comes back to bite him again. Yesterday Missouri's highest court heard arguments from attorneys for McFarlane and ex-hockey star Tony Twist as to whether McFarlane's usage of Twist's name for a gangster in his comic book Spawn defamed the sports star. The Macon Telegraph has the Associated Press story:

"Attorney John Bardgett Sr., representing Twist, told the Supreme Court on Tuesday that McFarlane intended to benefit economically from using the former hockey player's name.

" 'If that's not a promotion or a come-on to buy the books, I don't know what is,' Bardgett said. 'It's simply swiping a person's identity for their advantage.'

"Michael Kahn, a McFarlane lawyer, said that McFarlane merely selected Twist's name as part of the creative process. Kahn also said that Twist's name was never used commercially to sell the comic.

" 'No reader would believe that the real Tony Twist is a mobster,' Kahn said. 'It's not a vicious parody, it's more of a playful parody.' "

Coming this soon after his previous legal defeat at the hands of Neil Gaiman, you've got to wonder if karma's trying pass a message of some kind on to the Toddster. What do you suppose the odds are that he still isn't listening?
Posted @ 2:45 AM by Dirk Deppey | permalink


Where are the pro-war cartoonists?
(Editorial Cartooning) Political cartoonists are a stubborn, independent breed -- or so the stereotype goes. Each has their own idiosyncratic take on world events, right? So why is seemingly every such cartoonist in America coming down against the looming war in Iraq? Looking on from South Asia,
The Indian Express ponders the enigma:

" 'Empty warheads' is how an American cartoonist recently described Washington's war planners. The rest of the doodling gang hasn't been any kinder. In fact, American cartoonists seem to be orchestrating a campaign against their presidential wisdom to attack Iraq. Not a single cartoon even obliquely pro-war has been sighted.

"What accounts for this unusual herd instinct among the cartooning tribe? Unusual, because cartoonists normally present a variety of views. They are no less divided on politics, economics and ecology than the rest of the media and the readers. Some love to target the Republican elephant and some the Democratic donkey and some gun for the visual hybrid of the two. And many can't escape the occupational hazard of contradicting themselves over weeks and months of having to combat the newsbreak of the day."

I've been wracking my brain trying to come up with a single pro-war editorial cartoon I've seen recently, and I just can't do it. Can you? If you know of a link to such a beast, do me a favor and email it to weblog@tcj.com, along with whether or not you'd like to be credited with your find; I'll post any links I receive next Monday.
Posted @ 2:45 AM by Dirk Deppey | permalink


Think of the children
(Comic Books) Longtime readers of this weblog are well aware of one of my recurring themes concerning superhero comics -- that by catering exclusively to the hardcore fanboys, they no longer appeal to younger readers, yet their devotion to superhero tropes applied to adult themes (often quite badly) has left them singularly unable to attract new adult readers, as well. Why are there so few comics suitable for children in comics shops? The topic has been talked to death over on
ICv2, of course, but now Heroes Online is taking a crack at the subject:

"We've brought this up with Marvel editors before, both in person and through the Marvel/retailer conference call program, but have been told repeatedly that 'Kids just don't buy comic books.' At one time this might have been true, as comics got further and further into dark, grim stories intended for more mature readers during the 80's and 90's. Younger readers dwindled [during] this time: a time which coincided with the advent of more electronic media, like the aforementioned movies and video games. So it's difficult to blame the industry for marketing decisions based on this period's demographics.

"At the same time, those days are gone now. Over the last several years, DC Comics, Marvel's chief competition in the comic book world, has enjoyed great success with its line of 'animated' style comics, such as Batman Adventures and the new Justice League Adventures -- not to mention their line of Cartoon Network books such as Powerpuff Girls and Dexter's Laboratory. And how can we forget Archie Comics, which have sold consistently for sixty years, and have recently enjoyed a sort of renaissance, finding more new readers each week."

(Link via the Sequential Tart message board.)
Posted @ 2:45 AM by Dirk Deppey | permalink


New online magazine for webcomics debuts
(Comics and the Internet) Over on our message board, Joey Manley alerts us to
Comixpedia, a new webzine devoted to internet-based cartooning. The site gets off to a strong start with a variety of interesting features: interviews with James Kochalka and United Media web-cartoonist Dave Kellett, a speculative essay on the business of online comics, a review of Justine Shaw's stunning serial Nowhere Girl, and more. Check it out, won't you?
Posted @ 2:45 AM by Dirk Deppey | permalink



Tuesday, February 4, 2003

From Firkin to Beano
(Comic Books) The world has now officially turned upside down. Ignore Peter Bagge's Spider-Man, forget Gilbert Hernandez' Birds of Prey, nevermind Andi Watson co-writing a Sub-Mariner comic with Bill Jemas --
Hunt Emerson is drawing the "Little Plum" strip in England's beloved children's comic book Beano. I'd try to explain the significance of this, but Rich Johnston already beat me to the punch:

"Hunt Emerson is one of Britain's most eminent underground cartoonists. Creator of Firkin the Cat, cover artist of the Goons record and recent famed reteller of Lady Chatterley's Lover, this is basically the equivalent of Disney hiring Robert Crumb to redesign Goofy. Or of S Clay Wilson working on Archie.

"It's fucked is what it is. But it's brilliant."

On second thought: poor Andi Watson.
Posted @ 1:50 AM by Dirk Deppey | permalink


South African comics as seen from Europe
(Comic Books) When you want to know about the South African comics scene, who are the first people you turn to for answers? The French and Swiss, of course! Anyway, that's what South Africa's
The Independent did, interviewing French cartoonist Pascal Rabate and Swiss cartoonist Thomas Ott, both of whom have recently spent time in their fair land. Here's Ott on the distinctions between American, European and South African comics:

"American comics are more commercial, European comics try to be more visually artistic. There are people in America, like Arts Beagleman and others who are completely independent and with different styles, but that's about 10 percent.

"America does have a big tradition, but they see them as something on the last page in a newspaper. If you compare it to Switzerland, for example, comics didn't have any tradition in the German part of Switzerland, so when I started drawing I was a bit of a pioneer.

"The less tradition you have, the more you can try out, mixing ideas and trying different styles. So I think that might be a reason why the American tradition, which has been commercial, is staying that way. But if you have no rules because nothing exists yet, you can do what you want, so it's more open.

"That's why I think there is a chance for the SA comics -- because you have nothing that was here before so its all open and people have a chance to do what they want."

Ignoring the notion that European comics are somehow less commercial than the American model (one almost suspects Mr. Ott has never actually read Metal Hurlant), the article is an interesting look at the various chasms across cultures, albeit sometimes unintentional. Tell 'em Arts Beagleman sent ya.

(Link via World Famous Comics.)
Posted @ 1:50 AM by Dirk Deppey | permalink


Hey kids -- 50-year-old comics!
(Comic Books) Here's
an idea that just screams instant financial windfall from the rooftops:

"...After 50 years, and to celebrate the 50th anniversary of the Classics Illustrated Junior comic series, Jack Lake Productions Inc., (from Toronto, Canada) has embarked to relaunch the entire Classics Illustrated Junior line. The goal, their publisher says, 'is to reintroduce Albert Kanter's dream of providing meaningful, intelligent literature to today's young readers to invoke hope, imagination, values and the ability to distinguish between right and wrong.' "

Someone tries this every fifteen years or so -- you can still find oddly new-looking copies of First Comics' attempt at many used bookstores.
Posted @ 1:50 AM by Dirk Deppey | permalink



Monday, February 3, 2003

Political cartoonists react to Columbia disaster
(Editorial Cartooning) When breaking news hits a nation hard and the deadline looms, there's few newspaper jobs as tough as that of editorial cartoonist. You have to come up with an idea that hits the right note, and you have to do so now. Over at
Poynter Online, Howard Finberg spoke to two artists who attempted over the weekend to do just that -- Florida Today's Jeff Parker and The Jackson Clarion-Ledger's Marshall Ramsey:

"Poynter: Did the idea come quickly? Or did you try different ideas? What ideas did you reject?

"Ramsey: I thought of about four ideas off the bat. Two I kept. One of them (Lunar astronaut grieving in front of a half-mast flag) ran in our A section. I used the image of Buzz Aldrin saluting the flag for a reference. Our perspective section was unfortunately preprinted, so I could not pull that cartoon. But the executive editor ran my new cartoon in color on A5. It ran on Saturday on the Web site as a special cartoon. It is running again today (in the paper) in my usual spot. My second idea, I am running on Monday. It has a shuttle astronaut (with courage on his nametag) saluting, with a falling star in his helmet reflection. Other two were weak variations of those two.

"Parker: No, but I needed it quickly because we were going with an extra. I settled on the image I used within about 45 minutes, and finished the drawing in an hour and a half. I tried some ideas with the image of Columbia streaking across the sky, but felt it was too painful an image. Also I rejected things like, "Columbia breaks up over Texas -- Space Coast hearts break up over Columbia" and images of American eagles in tears. I settled on the image of Columbia landing at the pearly gates with six stars and one star of David in the night sky to represent the fallen astronauts. Drawing a cartoon at times like these is really difficult for me, and I have to somehow put aside the numbness and emotion for a little while to get the work done... easier said then done."

The above link also contains Slate editorial cartoonist Daryl Cagle's Columbia cartoon, which frankly strikes me as more poignant and less clichéd than Ramsey and Parker's examples.
Posted @ 3:20 AM by Dirk Deppey | permalink


The exclusivity war heats up... in bookstores
(Comics Retailing) The longstanding practice of offering exclusive releases to select distribution networks recently broke out in a new arena -- bookstores. Viz Comics is offering the first volume of a new softcover series, Di Gi Charat, exclusively to the Borders chain of bookstores until July, when it will finally be offered through Diamond Distributors; future volumes will follow a similar pattern.
ICv2 has the skinny:

"Mike Roberson of Viz told ICv2, 'We felt Di Gi Charat was a perfect mall product; the characters are ultra-cute, and shojo titles sell most of their copies outside the direct market.' Borders made a substantial upfront purchase of the first volume of Di Gi Charat, which according to Roberson has been selling very well."

Of course, if The Honolulu Star-Bulletin's Jason Yadao is to be believed, they could probably have picked a better series to give to Borders. Meanwhile, Barnes & Noble has an exclusivity deal all its own; its publishing arm, Barnes & Noble Books, is releasing paperback editions of various Marvel Masterworks volumes. Perhaps they'll sell better than Marvel's previous bookstore entries. They could hardly sell worse...
Posted @ 3:20 AM by Dirk Deppey | permalink


This is Sequential Tart on porn
(The Comics Press) February's edition of
Sequential Tart is online, and in addition to the usual batch of interviews, reviews and essays is a number of pieces devoted to pornographic comics. Barb Lien-Cooper discusses the complex relationship between women and pornography, while the other Tarts hold a roundtable discussion of the subject before offering up their own recommended reading list. Vaguely related: Rebecca Salek discusses the hubbub surrounding plans to finally get Wonder Woman laid. Is this serious? Wonder Woman's supposed to have been a virgin all this time? Damn, just when I thought genre comics couldn't get any more pathetic, something new comes along to surprise me.
Posted @ 3:20 AM by Dirk Deppey | permalink


Monday Mailbag
(Commentary) It's time to check up on what ¡Journalista! readers have been saying for the past week or so. Our first correspondent was spurred to write by the news of
India's outrage over a comic strip from the most recent issue of Maxim, which featured Mohatma Gandhi getting the crap kicked out of him:

"All I can say is, thank God nobody in the universe besides me ever seems to read Tim Kreider...."

Yow! That's a very disrespectful and very funny cartoon you've found, there. I'm undoubtedly going to Hell just for printing your email. Onward to our next correspondent, who writes in regard to the recent entries about the graphic-novel pages of online booksellers:

"Amazon might have a subdivision that they label 'Graphic Novels' but it doesn't seem as well thought-out or as singularly-devoted to graphic novels as BN's is. Clicking on the link in Journalista, I see several items on Amazon's page that have tenuous links to graphic novels: A magazine called Book; several apparent novels with nothing obviously 'graphic' about them (Child of My Heart, The Diary of a Teenage Girl, The Seven Sisters, White Women); and (at least when I went there the other day) a VHS tape of Sister Wendy's American Collection. (Granted, some of this may be due to Amazon's aggressive recommendations feature, but I still think the overall effect is to dilute the unity of Amazon's 'Graphic Novels' section.)

"So even if Amazon does have a sub(-sub-sub)category titled Graphic Novels, I still think B&N did a better job making their section distinctive. I clicked on B&N's Browse Books option and noticed that 'Graphic Novels' is the first category after 'Fiction & Literature' in the main FICTION section. Much easier to find than wading through Amazon's divisions, IMO."

I'm unfamiliar with a most of the titles you mention, though I should point out that The Diary of a Teenage Girl is a mixture of comics and prose by master cartoonist Phoebe Gloeckner.

Finally, I'm going to take a chance and identify our next correspondent as Fantagraphics' co-founder and onetime co-owner Michael Catron, who offers a little personal history on the subject that consumed last week's Mailbag, returnability in comics shops:

"Actually, Fantagraphics did the same thing in the 1980s with the first issue of Dalgoda, so we were the first. It worked, too -- we definitely sold more copies as a result. It was a pretty big deal at the time. Retailers placed their orders, distributors placed their orders, then we boosted those orders by some percentage based on what we thought they could sell. I think it was about 20%. That 'overship' amount was 100% returnable -- and might have even been billed at a later date. There was a return date past which they couldn't return them, perhaps 90 days. As I recall, the distributors thought it was too much work to try again, despite the fact that it definitely increased sales...."

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 @ 3:20 AM by Dirk Deppey | permalink



Sunday, February 2, 2003

US Embassy protests assault on Cameroonian cartoonist
(Censorship) In a follow-up to an
earlier story -- Joe Spann has posted a press release on our message board from the Cartoonists Rights Network concerning Paul Nyemb, a cartoonist better known to the readers of Le Messager as Popoli, who was beaten by Cameroonian police. The item isn't on their website, so I'm reproducing it here in full:

"In response to a letter writing campaign that began in December, the American Embassy in Cameroon has decided to lodge an official protest and request that the Cameroonian government launch a full investigation of the vicious beating of local cartoonist Paul Nyemb ('Popoli') by local police.

"Writing on behalf of the Embassy, Public Affairs Officer Andree Johnson issued the following statement:

" '...The Embassy is aware of the incident involving (Nyemb) and the police. We have looked into the circumstances surrounding the beating and find the police behavior to be unwarranted and inexcusable.

" 'The Embassy will be meeting with the Minister of Communications, Mr. Fame Ndongo, to express our concern regarding the treatment of Popoli in particular, and the journalistic community in general. We will request that the Minister investigate the incident, and do everything in his power to prevent the harassment of journalists in the future. We will also raise this matter with the police.

" 'For the people of Cameroon to have a free press, Cameroonian journalists must be able to report and comment on the government without fear of reprisal. Freedom of the press is a necessary condition for any robust democracy, and our extensive efforts to assist Cameroon in building such a democracy will continue.'

"Cartoonists Rights Network Director Robert Russell has recently been in contact with Popoli and has learned that criminal charges have been filed against the officers who beat him at a police check point in Younde last November. However, Russell pointed out that 'even very old cases that his newspaper has lodged years ago on other free expression issues are at a stand still. This is one way the government reduces criticism of itself: court cases just disappear.

" 'Popoli said sometimes journalists languish in prison far beyond any possible sentencing periods waiting for a court hearing.'

"The task confronting the Embassy in Younde is a difficult one, and the CRN applauds its ongoing efforts to secure the rights of Popoli and all of his fellow journalists and cartoonists living there. We will continue to watch this case and continue to keep the public informed of all new developments.

"The CRN also wishes to express its gratitude to everyone who wrote to the American Embassy and the government of Cameroon to protest the attack on Mr. Nyemb. This has proven invaluable in efforts to insure that this affront to freedom does not go unpunished."

An example of the kind of cartooning that has caused Popoli so much negative attention from Cameroonian authorities can be found here, as well as on his newspaper's website. We'll keep you updated on this story as further developments occur.
Posted @ 3:00 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:

  • From the Department of Franco-Stupidity: Les Éditions Albert René, publishers of the popular Asterix and Obelix comic-book series, have apparently won a long legal battle in the French judicial system to force software company Mobilix to give up their internet domain name, under the insane logic that the company's name is to vaguely similar to "Obelix" and therefore infringes upon their trademark. (Story courtesy of Slashdot.)

  • On the other hand, you can't hate the French too much -- after all, they do host the world's best comics festival. The BBC has an overview of this year's recently-concluded festivities in Angoulême. (Link courtesy of Bugpowder.)

  • 71-year-old cartoonist Jim Berry has been drawing his daily panel Berry's World for almost forty years. Today's installment is his last; he's decided to retire. Florida's Palm Beach Post has a short profile of the veteran cartoonist.

  • The Interlochen Center for the Arts is concluding its 75th anniversary celebration with the announcement of a new "Alumni Path of Inspiration", a walkway highlighting the successes of various graduates. Last Friday over thirty such alumni were honored at New York City's Lincoln Center as the first inductees of the Alumni Path -- among them was strip cartoonist Cathy Guisewite .

  • From the Department of Changing Times: did you know that the Harvey Awards had a weblog? Me neither, until Mike Whybark passed me the link.

  • The New York Times reviews two new gallery shows by punk cartoonist Raymond Pettibon. (Note: site registration required.)

  • Ever eager to keep up with the latest cultural memes, Technology Review writer Henry Jenkins uses the Warren Ellis-scripted comic book Global Frequency to illustrate the ideas behind Howard Rheingold's new book Smart Mobs.

  • North Dakota newspaper The Grand Forks Herald presents an Associated Press story concerning Mark Mindt, member of the Spirit Lake Sioux tribe, who's just completed the first issue of his comic book Koda the Warrior. The comic is meant to teach young people the traditional values of the Sioux warriors. Mindt plans on issuing four issues of the series on a yearly basis.

  • Every once in a while I stumble across something that leaves me thinking, "Hey, that's comics," despite the fact that such a thought would probably never have occured to the person who assembled it. The most extravagant example of this phenomenon is probably the collage journals of Dan Eldon, but I find weird little examples all the time. This week it was this page from an online gallery of art by psychotics, which contains the work of painter Louis Wain, a turn-of-the-20th-century painter who specialized in anthropomorphic portraits of cats until he turned schizophrenic at the age of 57. Note the bottom tier of paintings on this page, which by and of itself presents the chilling tale of Wain's descent into madness in sequential form. Site curator Silvia Helena Cardoso isn't the first person to think to display these paintings in such a fashion, of course, but I suppose the act of doing so does make her a sort of cartoonist, when you think about it a bit. (Link courtesy of Dublog.)

See you Monday.
Posted @ 3:00 AM by Dirk Deppey | permalink



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