Sporadic Sequential
Friday, May 30, 2008
Making a Mountain out of a Manhole Molehill

This may be a moot issue by now, but I have a process question spinning out of the whole Tokyopop kerfuffle for other bloggers: How do you handle corrections to factual errors in your posts? Perhaps I'm worrying about this too much, but I'm concerned that leaving statements such as these [all emphasis added] out there could continue to give the wrong impression about Tokyopop's Manga Pilot contract:
  • "Contracts like this one that secure all rights to a property in exchange for some modest amount of cash..." (Tom Spurgeon)
  • "As is typical of their efforts, they’re counting on starry-eyed kids not paying attention to the details and winding up signing away all their rights." (Johanna Draper Carlson)
  • "...it disgustingly strips you of the right to your creations..." (Heidi MacDonald)
Maybe I'm the only one who was confused by those statements, but to me they suggested that the Manga Pilot contracts gave Tokyopop complete ownership over a creator's entire intellectual property. However, as Brigid Alverson noted,
The Manga Pilot contract may be deeply flawed, but it only applies to the Manga Pilot. As people are starting to realize, Tokyopop isn’t taking all future development rights with this contract. All subsequent projects, such as a full-length manga series or a movie, are negotiated separately, presumably with your lawyer and agent looking over all the legalese.
As Lea Hernadez and Bryan Lee O’Malley have detailed, there are plenty of reasons why the contract as it specifically relates to the Manga Pilot alone could give a creator pause (ties up your property for one to two years even if Tokyopop doesn't actually own the rights; costs associated with arbitration and/or defending your work against possible legal action could be prohibitive; etc.), but I think some commentators have amplified Lea's and Bryan's concerns beyond what is actually at stake in the Manga Pilot contract. One reason I think this could be problematic is because someone considering the Manga Pilot program could look at all the warnings out there, see that some detail is inaccurate, and then dismiss the whole discussion as mistaken.

Again, this might all be a moot point. As Johanna notes, people seem to have moved on (or at least slowed down) in their discussion about this, so perhaps there's nothing to be gained by making the changes now. But I'm still curious to hear from other bloggers (and readers) about how they think matters like this should be handled. Should the details in the original posts be corrected? Should a separate correction be issued? Is it something that you don't really think matters one way or the other, especially once the controversy seems to have died down?

(For my own part, when I realize I've made a mistake, my policy is to strike out the original, incorrect text but still leave it in place to be read and then issue a correction or retraction of some sort, either in the original entry or a separate post.)

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Wednesday, May 28, 2008

OK, having now read the actual contract in full, I think a boycott on Tokyopop is unwarranted. Based on the accounts I'd read online, I was under the impression that Tokyopop's Manga Pilot pact gave Tokyopop rights over a creator's entire intellectual property (i.e., the characters, concepts, etc. — what Tokyopop calls the capital-P "Project") but the "pact" is specifically limited to the work produced for the Pilot — that is, the one-time 24-36 page one-shot (what Tokyopop calls the "Manga Pilot"). If Tokyopop wants to do anything with the creator's intellectual property (i.e., the "Project") beyond the scope of the Manga Pilot and its one year Exclusive Period (which is only entered once the Pilot has been formally accepted/approved), that would require new negotiations and a separate contract on Tokyopop's part. (Yes, Tokyopop does say it retains the rights to publish the Manga Pilot in any format forever and ever amen, but again this only applies to the 24-36 page one-shot, and it also allows the creator to publish it simultaneously in whatever format he or she sees fit. So theoretically speaking, if you let Tokyopop publish the Manga Pilot but then decide you want to publish your Project on your own once the Exclusive Period ends, you could include the Manga Pilot as an introductory chapter in the trade paperback collection of your self-published comic book series.)

I still think the whole thing is stupidly written (as many have pointed out, the efforts at striking up a chummy tone have the opposite effect), and I still don't see why Tokyopop can't give creator credit in almost all circumstances (in almost every graphic for Bleach that Viz runs, no matter how small, I always recall seeing the notice "BLEACH © 2001 by Tite Kubo/SHUEISHA Inc"), but it's not what I initially thought it was. So I apologize for jumping to conclusions and suggesting a boycott without first investigating the matter in greater depth. As an act of penance, I suggest boycotting this blog for a couple weeks.

(On a positive note, this means I can use those Sgt. Frog scans I already did. Plus, now I won't be sad come Dec. 16th.)

UPDATE: Right after posting this, this post from Brigid at MangaBlog showed up in my feedreader. In it, "the TOKYOPOP Pilot Program Team, Paul Morrissey & Hope Donovan!" responds to the controversy surrounding the Pilot Pact, and they confirm that the contract only applies to the Pilot material. There's one part that's awkwardly phrased, however: "For any Pilot that doesn’t pan out, the rights to the project are returned to the creator after the one-year Exclusive Period ends." [Emphasis added] According to how I read the contract, however, creators never sign away any rights to the Project (remember, that's the overall intellectual property); they only agree not to give the rights to the Project to anyone else besides Tokyopop during the one-year Exclusive Period. ("Remember, you’re not giving us those rights, but you’re promising you won’t use or give anyone else those rights before the Exclusive Period ends.")

Oh, and I'd also disagree with their assessment that the contract is "accessible." Given that so many people came away with the wrong impressions about this contract, I'd say there's something very inaccessible about the way it's written. I think it'd be better to go back and clean up all the attempts at "cutesy" conversational lingo and just set out the details straightforwardly.

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Who Writes Their Contracts? Kururu???

NOTE: This entire post was written under some flawed assumptions. See my retraction for an update. Any other ideas for a comic company we can legitimately boycott?

I was planning on writing up some thoughts on the latest volume of Sgt. Frog last night (with hilarious scans and everything!), but the latest round of shady dealings from Tokyopop has dampened my enthusiasm for their works. Like Johanna, I really don't want to be promoting a company that engages in (let's phrase this charitably) extremely questionable business practices at the expense of creators. In fact, I'll take it a step further and suggest it's time for a general boycott of Tokyopop until they get this contract mess straightened out so it's more equitable for creators:
  1. If you're a reviewer, stop reviewing their books.
  2. If you're a reader, stop buying and reading their books.
  3. If you're a fan, stop discussing Tokyopop (other than to explain why you're no longer discussing them)
  4. In any case, send Tokyopop a note to let them know why you're no longer a customer of theirs.
A Tokyopop boycott isn't really that painful for me since, with the conclusion of Dragon Head, Sgt. Frog is the only series of theirs that I'm following (and it only comes out once or twice a year) but I'd strongly encourage anyone who thinks this is an important issue to stick it to Tokyopop where it hurts and let them know why you're dropping their books.

UPDATE: Tom Spurgeon handily demolishes arguments that Tokyopop's contract is just standard operating procedure.

UPDATE #2: Heidi MacDonald weighs in and ties the recent mess into a larger discussion of Tokyopop's OEL program and its treatment of newer, younger creators.

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Friday, May 23, 2008
My New Favorite Manga That I Didn't Know Existed Until Today

Over at the Studio Cutie Bleargh, Susie Lee reacts to Dark Horse's big showing on MangaCast's discontinued manga list, teasing that one of the series on that list may be coming back soon. In the comments, I plead for that series to be Club 9. Susie's reply kind of crushes that hope ("I think Club 9 wasn't a huge seller because Kobayashi's art is so different from most popular manga") but she also mentions another Kobayashi work I'd never heard of before, Chichonmanchi.

Ah, the wonders of Google. Here's a description (with commentary) from a French blogger named Mahousu:
Chiya Minakami is a famous doctor who devoted her life to saving that of others. When she dies at age 92, she finds herself before the judge Enma, sort of the Saint Peter of Buddhism who, when informed of all the good deeds she had done during her existence on Earth, invites her to climb the stairs that lead to Paradise. But as soon as Chiya mounts the first step, an alarm sounds: she can't be accepted into Paradise because she's still a virgin! [Yeah, I heard Jeanne D'Arc ran into that too. Man, you never heard such a ruckus! And no, cynic, Mary had her own private entrance, so the matter never came up.] Too preoccupied with giving love, she never had the time to receive it... To expiate this sin, Judge Enma sends her to Chichon Manchi where, her body completely rejuvenated, she must lose her virginity to be able to go to Paradise. Chiya discovers soon enough that this hell of pleasure is peopled with very affectionate creatures which would resemble normal animals, if they were not gifted with [human] masculine sexual attributes...
[A bit like What's Michael? with penises taking the place of cats, hybridized with a profane rehash of Dante's Inferno (well, maybe Purgatorio). Yes, I agree, Kobayashi-san has been working too hard of late and needs a break. Still, you have to admit it is something unique. Kobayashi constantly comes up with new variants on the weird-world-full-of-phalluses theme in order to keep things amusing.
[Yes, astute observers will note that he tends to change Hell's rules as he goes along to suit his own purposes, but then of course exactly the same thing was true of Dante, and his version had a lot less sex. I will say, though, that this ranks as the least erotic work I have ever seen where essentially all the characters are completely naked all the time. Kobayashi seems to be channeling Renoir, or perhaps the prehistoric sculptor of the Venus of Willendorf, in the fleshiness of his figures, but their sheer goofiness is his alone.
[The Pika edition is decent, so to speak. The high price is based on the thickness of the volumes, nearly double the usual tankoubon length. Quite a contrast from the relatively thin What's Michael? volumes; in an afterword, the author says it's because "erotic" manga is just so much more fun to draw that he got carried away!
[Difficulty: varies from quite easy to moderate; it approaches Gon in its sparsity of dialogue at some points, while can be quite chatty at others. Recommended for those with a taste for the odd, but this is not one to be caught reading in public, at least outside of a Japanese subway.]
A sex comedy from the creator of What's Michael and Club 9? Sign me up!! Although as Susie points out, this isn't something one should expect to see picked up by a U.S. publisher anytime soon. (Although who knows? Perhaps we could convince Simon Jones to publish this. What do you say, Simon?) Heck, I can't even find scanlations of this series anywhere, and I thought every manga known to man had been scanlated. (This is another one of those times where I wish that I knew French so I could order a French version of the series.)

Anyway, while googling around, I found a bunch of images from the manga but I didn't want to post them directly on the blog. So I uploaded them to Flick so I'd have them all in one convenient location. Click here to see them all, but be warned that these are definitely NSFW!

(Images from multiple sites, but mainly here, here, here, and here. My apologies if I forgot to credit any site where I found them.)

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Today's Online Shopping Tip

TFAW is having another (still having the same?) "Massive 40% Off Sale," plus there are various coupon codes available (see below), so now may be a good time to stock up on missing volumes from your favorite manga series. (The site shows the sale as applying just to collectibles but if you click through, it shows other categories such as graphic novels are also on sale.) Plus, there's always TFAW's huge selection of "Nick & Dent" GNs at 50% off to browse through. (Currently it shows over 1100 GNs (!) offered as nick & dent specials.) I ordered a bunch of nick & dent GNs a couple months ago and everything looked like a brand-new book to me.

Coupon Codes:
  • Free shipping on orders $40+ » Coupon Code: SPROUT » Expires: 5/31/08
  • $10 off $50+ » Coupon Code: GREEN » Expires: 5/31/08
  • Free shipping on orders $25+ » Coupon Code: SPRINGFLING » Expires: 6/30/08
Here's what I ordered this time around:
  • Bride of the Water God Vol. 1 - I'm buying this as a show of solidarity for Katherine Dacey. Fans of low-selling manga (or manhwa) have to stick together and support each other's favorite series!!*
  • Mushishi Vol. 2 - The first volume didn't wow me but enough of the right people praise this series that I'm willing to give it a second look. (Hey, it's not like my first impressions haven't been wrong hasty before.)
  • Shadow Lady: Sudden Death TPB - I really have no idea what to expect here, but ever since Alex Scott mentioned that Masakazu Katsura was a huge Batman fan and Wikipedia informed me that "[Katsura] is also a huge fan of Batman, something which has influenced his work, most clearly seen in Shadow Lady," I've been curious to check this out. Plus, for six bucks I won't feel too cheated if I don't like it.
  • Boogiepop Doesn't Laugh Vol. 1 - I honestly have no idea what this is. I know I've heard the term "Boogiepop" before but for some reason I had it confused with this. Anyway, googling for info took me to gomanga's site and once I saw the word "shinigami" in the description I was hooked.
Oh, one more tip: If you find it daunting to browse through all the nick & dent books, you can filter the results by publisher at the top. The only glitch is that sometimes I had to reselect the "Nick and Dent only" checkbox in order to display only nick & dent books.

* NOTE: Not really.

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Wednesday, May 21, 2008
Is It Too Early To Declare July 26th A National Holiday?

OK, new plan for the family summer vacation this year:
We are honored and delighted to announce that we have a very special guest [at San Diego Comic-Con] this year from Japan — Tite Kubo. This year VIZ Media is celebrating the success of his popular manga series, Bleach, and the debut of the first film, Bleach the Movie: Memories of Nobody.
Actually, my wife has mentioned wanting to take the kids to San Diego, only for another reason. But perhaps I could convince her to make it an extended vacation covering both highlights?

If it turns out I can't make it to SDCC, though, perhaps I can still participate in spirit:
VIZ Media is declaring Saturday, July 26th, Bleach Day in honor of our special guest. All SDCC attendees are encouraged to show their support for Mr. Kubo and Bleach by wearing their Bleach attire to the convention that day. Special prizes will be given away, and best of all, you’ll be giving Mr. Kubo a very warm welcome from his fans for his first visit ever to Comic-Con!
OK, I've just made an entry in Google Calendar to remind myself to wear my Bleach gear on Saturday, July 26th. Now I've just got to get some clothes for the kids. Wouldn't they look cute in these T-shirts? (Hey, wait a second. Bleach Day isn't just a cynical attempt on Viz's part to move more Bleach merchandise, is it? Shame on you, Viz! How dare you sully the spirit of Bleach Day like that!)

In related news, I enjoyed ICv2's article on the Tite Kubo announcement, which I felt took the appropriately reverential tone that all articles about Bleach should strive for:
What makes Bleach stand out from the other adventure-heavy shonen fantasy properties, in addition to Kubo’s swift flowing cinematic breakdowns, is the elaborate cosmology he has developed for the series with its different planes of existence (the Human World, the Soul Society, and the Hueco Mundo), its different classes of characters (Hollows, Wholes, Soul Reapers, Quincys and Mod Souls), and its intriguing high concept elements such as the “Chain of Fate” and “Hell Butterflies,” all of which add depth to the narrative.
The piece would have been even better if they'd managed to work in a discussion about the many complex themes in Bleach that elevate it above the standard shonen fare (e.g., how Hollows represent many individuals' coarsening of character and disconnect from any sense of community due to the alienating features of modern society), but I'll give them credit for at least addressing part of what makes Bleach so special.

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Friday, May 16, 2008
How Can I Not Buy This Series If It's Not Being Published?

Does anyone know the status of Dark Horse's manhwa series XS Hybrid?* According to Baka-Updates, the series runs five volumes, but so far Dark Horse has only released three:
  • XS Hybrid Volume 1 - 06/2007
  • XS Angel Virus Volume 2 - 09/2007
  • XS Guardian Volume 3 - 12/2007
So it looks like initially Dark Horse was releasing the series on a quarterly basis but then it suddenly stopped. There are no additional volumes listed on Dark Horse's site, and I couldn't find any news about the series one way or another. Is this another DH series that's entered the limbo-like "on hiatus" status? (Katherine Dacey mentioned this earlier in the week as part of a general pattern of series seeming to disappear quietly from DH's schedule, but I'd completely forgotten that she'd already included XS Hybrid on that list. Since no one responded to the question of XS's status, I thought I'd mention it again here.)

* My interest in this question is purely theoretical: After reading the first volume last night, I have no interest in continuing with the series myself. This is what I get for buying a book simply because the cover looked cool.

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Thursday, May 15, 2008
Fair and Balanced Fanservice

I've heard about the manga series Gantz before but don't really know much about it, other than it has a legion of obsessively rabid fans who seem to prize it mainly for (1) the art and (2) excessive levels of graphically detailed gore, neither of which were convincing selling points for me. Then I came across Newsarama's interview with Michael Gombos, Dark Horse’s Director of Asian Licensing, who is attempting to sell the series to readers like me who are unfamiliar with the series / unconvinced why they should buy it:
And since I really can't avoid mentioning this, there is fan-service. I don't think it appears at the point where it becomes a "gratuitous detractor," but it's certainly there. Obviously, there is so much more to Gantz than guns and breasts, but if that happens to be the sole reason you buy Gantz, I can assure you that you won't be let down.
On the one hand, Gombos' comment comes across as a form of having-it-both-ways pandering: "The fanservice isn't excessive or gratuitous, but if that's what you're here for, boy, will you be satisfied!!!"

On the other hand, I was amused that not only did all the preview art not feature naked boobies, but the only nudity on display was of the full-frontal male variety. (With the naughty bits digitally scrambled, something I'm assuming will be undone in the published book?) Yay for equal opportunity objectification!

Breaking the tie, Gombos's level of excitement and enthusiasm for this series is simply adorable, so I've decided I will check out the first volume of Gantz after all. PR push successful!!

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Tuesday, May 13, 2008
The Joys of Pre-Ordering

Now that I've discovered the generous pre-order discounts at Tower.com, I've been pre-ordering most of my manga there. What's nice is that Tower doesn't wait until everything from the order is available in order to ship things: individual items ship as soon as they're in-stock. So it was a pleasant surprise yesterday to receive three separate emails letting me know that a bunch of manga I'd pre-ordered last month were all shipping that day. How nice to know that Kekkaishi 13, Parasyte 3, and Sgt. Frog 15 are all on their way to me! (It's also nice because the emails reminded me to pre-order the next round of upcoming manga before the discounts decrease.)

I've also been happy with Amazon's pre-order program, which I use for larger ticket items. For example, I just pre-ordered Viz's two collections of Kazuo Umezu's Cat Eyed Boy for $15.67 apiece thanks to Amazon's additional 5% discount on pre-orders. Plus, if the price goes down at all between now and when the book is released, I'll get the lowest price thanks to Amazon's pre-order price guarantee. (I've benefited from the pre-order price guarantee before, so I do trust that Amazon honors the guarantee even if I'm not always monitoring their prices.)

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With A Name Like Lutefisk Sushi, It Has To Be Good

Things I never expected to see on the bulletin board of a Caribou Coffee:
  • Flyer for another local coffee shop
  • Brochure for "Praying Princesses," a Christian dance class that "encourages young girls to offer their bodies up to Jesus"
  • Postcard for Lutefisk Sushi, a big box set of local mini-comics accompanied by a gallery showing
If I'd been paying closer attention to my feedreader, I would have already known about the last one, as Journalista and The Daily Cross Hatch both covered the event earlier this month. Unfortunately I missed the show's grand opening, but it runs through May 31 at the Altered Esthetics gallery. Plus, this weekend the gallery has extended hours as part of the Art-A-Whirl event. If you're in the Twin Cities area, check it out; it sounds like fun!
Lutefisk Sushi Volume C
at Altered Esthetics
May 1-31
1224 Quincy St. NE
Minneapolis, MN 55413

Regular gallery hours are:
Tuesdays and Thursdays 1-7
Saturdays 1-5

Art-A Whirl hours are:
5-10PM Friday May 16th
12-8PM Saturday May 17th
12-5PM Saturday May 18th
I wonder if they still have any of the Lutefisk Sushi bento boxes left? $25 for over 50 mini-comics in such a beautifully designed package sounds tempting...

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Sunday, May 11, 2008
Spring Cleaning: Keep or Drop?

Realizing my ambivalent feelings about Alive, I wondered if there were any other manga series I follow that I was becoming less enamored of, so I decided to run down my current reading list and assess my feelings toward each title:

Series Notes Verdict
Alive After a strong start, the series seems to be spinning its wheels somewhat, relying too much on a stale "introduce new super-powered characters for our hero to fight" formula. Plus, four volumes in, and I'm not feeling very invested in Taisuke, the series' main character. He comes across as a stock, cipher-like lead with nothing that really distinguishes him from any other bland shonen guy. On probation: One more chance to prove itself
Bleach On the other hand, I never tire of Bleach's formulaic fights, thanks mainly to Tite Kubo's energetic artwork. Keep the epic battles (and epic cast) coming!! Keep
Flower of Life The only problem with this delightful series is that there's only one more volume left and we won't see it until at least 2009! Keep
Gon I like the series but there's definitely a sense of "if you've read one Gon adventure, you've read them all." Still, Masashi Tanaka's insanely detailed artwork could be enough of a draw even if the stories aren't always fresh. This may move from an essential read to an optional one. Possible "bored buy" or Move to Library List
Kekkaishi This series continues to pick up steam, with events increasing in intensity with each volume. I'm looking forward to Yoshimori's showdown with Kaguro next volume, so this series maintains its "definite buy" status. In fact, not only will I be buying new volumes, but I'm also thinking about going back and buying the earlier volumes I'd originally read through the library.
Kurosagi Corpse Delivery Service This series has been a delight so far, from its exquisitely designed covers to its extensive and entertaining endnotes. My only concern is that the series will end prematurely if it can't find enough readers. Keep
Parasyte I've enjoyed the first two volumes so far, but the series doesn't stick out in my mind as a "must-buy." I'll give it a couple more books to see if it makes more of an impression on me. Monitor
Sgt. Frog Even though the last volume had perhaps the fewest memorable moments of any Sgt. Frog manga so far, I still don't think I'm suffering from the Keroro Gunso fatigue afflicting so many former fans of the series. My fondness for the characters and the creator's work will keep me buying this, even if it has become rather familiar/predictable at this point. Keep
Yotsuba&! This series should be called Yotsuba&#@%! due to all the delays that plague it! What the #@$% ever happened to volume six?!? Wasn't it originally due back in February?!? Sigh. Despite the frustrating delays, this remains one of my all-time favorite series, so I'll continue to buy it, whenever it happens to come out. Keep

So overall it looks like I'm still enjoying most of what I'm reading. I was surprised to find that I don't really seem to be following that many manga series. While it's possible I'm forgetting something, I think it's true that my reading list has been shrinking lately. Part of it is that several series I had been following, such as Dragon Head and Emma, recently ended; but I also think I'm going through a period where I'm reluctant to try out new titles due to limitations of time and money. Still, I know there are upcoming series I'm looking forward to (such as Real, Slam Dunk, and the VIZBIG version of Vagabond — notice a pattern?), so I'm sure the reading list will continue to expand and contract over time.

So how about you? Are there any series that you're considering dropping? Are there any series I'm not following that I should be?

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Saturday, May 10, 2008
Ambivalent about Alive

Reading the latest volume of Alive, I was left with ambivalent feelings. There are still aspects of the series I enjoy, particularly Adachitoka's artwork, which improves each volume. But overall I feel the series is drifting from its initial, intriguing premise. I know there are still references to the mysterious mass suicides that opened this series, but they feel perfunctory. Instead the book seems to have settled on a formula of pointless fight scenes between Taisuke and that volume's new super-powered characters. It's a strange criticism coming from someone who laps up each new battle in Bleach, but I was really hoping for Alive to be something more than a series of random video game face-offs (even if they are staged quite skillfully, as demonstrated below).

It probably doesn't help that Nami reminds me
of the
lamest Marvel character ever created.

The volume slightly redeemed itself towards the end with the introduction of perhaps the greatest embodiment of fan entitlement ever put to paper: the ultra-otaku Okada has the power to kill (almost) anyone who breaks a promise to him by siccing his very own loli-goth version of the Grim Reaper on the offender. It's an interesting concept, and one that could be played to great meta effect within a manga. However, based on the next volume preview, it looks like he'll mainly be used to set up yet another conflict between Taisuke and Nami. Yawn.

Still, I enjoyed the first two volumes of this series even if the last two have been somewhat disappointing, so I'll probably give Alive one more volume to stay alive on my reading list.

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Monday, May 05, 2008
Tomine & Terror: Comics in The New Yorker

In addition to their glowing glowering review of Iron Man, the May 5th issue of The New Yorker had some other comic-related content as well.

First was this illustration by Adrian Tomine for an article on how actual residents of L.A.'s Skid Row are being cast as extras in an upcoming film about a musically gifted homeless man from that area.

Next was a piece profiling Sid Jacobson and Ernie Colón, creators of The 9/11 Report: A Graphic Adaptation. They were interviewed at NYCC, where they were attending a panel titled "AMERICA: Through the Eyes of the Graphic Novel," something I don't recall seeing anyone mention in their coverage of NYCC. (Then again, I didn't really read the NYCC reports that carefully, so it's possible someone did write about this and I simply missed it. After all, I missed Tom Spurgeon mentioning this same New Yorker piece a couple days ago.) I learned two interesting things from this article: (1) Jacobson and Colón have a follow-up book coming out in August, After 9/11: America's War on Terror (2001- ), which Jacobson says he hopes will remind readers "how much of what’s happened over the past six and a half years hasn’t really stayed with us." (2) Prior to the success of The 9/11 Report, Colón was working as "security guard on Long Island" at the age of seventy-two, which I found a bit depressing. Another reminder that a long and distinguished career in comics is no easy road to retirement. At least this case has a happier ending than most, with Jacobson and Colón finding fulfilling work in their field, even if it happened long after the comics "mainstream" had forgotten about them.

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Sunday, May 04, 2008
So It's Worth Seeing, Then?

But tell us what you really thought of Iron Man, New Yorker's David Denby.

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