In this episode, Rob and Don sit down with comic artist and director of Marvel’s Avengers Assemble animated series Tim Eldred to discuss his career in the comic book industry and how it led him into the world of animation. Along the way, they discuss Tim’s advice for aspiring comic book artists, why getting your work done on time is crucial for a career in the comic book industry, and why the secret to successful media production is to have a really big raft! All this, and a look at Tim’s new project Pitsberg, are waiting for you in this episode of the Department of Nerdly Affairs.
In this episode, Rob and Don sit down with Edd Vick, founder and publisher of MU Press and Comics F/X magazine, to discuss Edd’s history in comics and the independent comics scene of the 80s and 90s. Former guest Jeff Wood, one of Edd’s friends and contributors also stops by, and the four of them discuss comics culture, convention culture, and what they see as the future of comic books. All of this, and the real story of why the comics industry collapsed in the 90s are coming to you in this, the 18th episode of the Department of Nerdly Affairs.
In this episode, Rob and Don sit down with former Comics F/X magazine founder and editor Jeff Wood to talk about the West Coast independent comics scene of the 1980’s. The three discuss the origins of Comics F/X magazine, MU Press, the small press black and white comics explosion, and how “three adjectives and a noun” comics and anthropomorphic smut crashed the industry. All this and the story behind Jeff’s own legendary comic Snowbuni are waiting for you in this, the 14th episode of the Department of Nerdly Affairs.
A new chapter of Shotarou Ishinomori’s Robot Keiji (Robot Detective) came out yesterday over on Mangafox. I have to say I like this manga quite a bit, although I’m not sure why. There is a dark, serious tone to the story, but it’s so well balanced with the slightly cartoony art style that it keeps it from getting too overwhelming. I’ve seen a lot of Robot+Detective cop shows over the years (there’s at least one per decade since the 70’s) but this story seems to have a different angle and works much better than they do.
Also yesterday, I discovered someone has been translating (slowly) Ishinomori’s Kamen Rider Black manga, which is very different than the awesome TV show it’s named for, but still pretty neat. It’s pretty dark, like Robot Keiji, and I love the cinematic art style it uses.
Ken Akamatsu, creator of Love Hina and Negima! has just released a new manga called UQ Holder! which is basically Negima!: The Next Generation. It takes place in the Negima! setting about 10 years after the world became aware of the existence of magic and centers around Negi’s grandson who has been living a sheltered country life and must now go out into the real (future) world.
Having read the first 80-page “chapter” of the story, I have to say that I don’t actually like it that much. It’s really typical, and while I thought I’d like the tie-ins with Negima! (which I liked overall) I found they weighed the story down more than boosted it. Negima! had a very whimsical and organic feel to it, but this story feels very forced and like Akamatsu is trying too hard to harness both the Negima! setting and fan base and start something new at the same time. It’s hard to explain without spoiling it, so you’ll just have to check it out and make your own decisions.
I will say that it was very clear during Negima! that Akamatsu was a guy doing a romantic comedy/harem book that desperately wanted to be doing a fantasy-action book instead. At least this time he’s doing what he wants, but ironically, not having the character-driven romantic-comedy story as a base might turn out to be this story’s downfall. He just doesn’t seem to be very good at doing “real” shonen-type battle stories without them devolving into clichés.
As a side-note, Negima! ends without us knowing who Negi finally marries (likely the editors wouldn’t let him pick since it might hurt future collection sales), but to those paying attention this story now more or less tells us the answer with a 50% chance of being correct. (Which might not seem certain, but when you consider the odds were formally about 1 in 30, that’s a pretty big jump!)
So, ABC finally made the obvious official- there is a new TV series set in the Marvel Cinematic Universe called Agents of S.H.I.E.L.D. For which you can watch the first trailer below…
Looks amazing, doesn’t it? Gonna be a heck of a show, and I’m seriously looking forward to it. But, there is something that bothered me about it, and I think I can demonstrate with the official cast picture…
Look, I’m not someone who thinks every cast needs to be equally male and female, nor am I someone who believes that every cast should look like it was designed to appeal to every cultural/ethnic group. I always believe what’s more important is the characters, and they should be whatever the creators want them to be, political correctness be damned.
That said, that cast couldn’t be a bunch of whiter people if we sent them to Harvard and dipped them in yogurt! Even the token Asian chick (who is supposed to be the team’s “tough guy”, good luck with that) is one of the whitest and most caucasian looking Asians they could possibly find. (And if you’ve seen other pictures of Ming Na Wen, they’re working hard on the make-up end to made her as un-ethnic as possible.) This cast looks like it was for the SHIELD TV series of 1963, not 2013! Did the execs at ABC not get the memo? Or, did they borrow the casting director from the CW?
Also, is there a factory churning out clones of Nicolas Brendon (Xander from Buffy:TVS)? Because the lead male there could show up at his house for dinner and Brendon’s family wouldn’t even notice! (They’d probably just assume it’s his identical twin brother dropping by to say hello.)
Now, I’m not sure who’s responsible for this, whether it’s the Whedons (the show is done by Josh, his brother and his sister-in-law (who’s Asian)), or whether it’s the execs at ABC. I lean towards the execs at ABC- it is the middle-America Disney channel now, so they are targeting that demographic. But really, a whole show about white people running around and the only major black character in the pilot is a street thug with superpowers? Well, I guess that does fit in with the ABC mindset nicely.
I really would have liked to see a person of color as Coulson’s second in command (or anywhere else on the team!), especially since the Marvel movies are about a group of superpowered white people saving the world again and again. This show could really have been a chance to balance that off a little, and show that the Marvel Cinematic Universe isn’t just inhabited by white people saving the day.
But apparently, it is.
It seems most people are happy about the merger, and think that Disney has done right by the properties it has acquired. But apparently, according to the owners of Toronto’s Beguiling comic book store, this isn’t entirely so…
Editorial: Keep the Star Wars comic books at Dark Horse, please.
Posted Wednesday, October 31, 2012
We don’t normally write editorials like this on our blog, preferring to remain more ‘comics agnostic’ when it comes to genre publishers, but we felt we should say something.
Marvel’s acquisition of the Disney/Pixar license for comics has potentially cost us thousands of dollars since January 2011.
Marvel Comics has drastically reduced the publication of Pixar and Disney Comics titles since the rights were pulled back from BOOM Studios almost two years ago following Disney’s purchase of Marvel. With today’s purchase of Lucasfilm and the Star Wars property by Disney, we would greatly appreciate it if Disney, Marvel, and Lucasfilm could just lead the Star Wars properties alone, and with Dark Horse. Dark Horse is doing a fine job with this material, working hard to keep it in print at various price points and in various formats. Putting the Star Wars comics at Marvel will hurt our bottom line, and we believe the bottom line of all direct market comics retailers.
Briefly: At the height of production, BOOM! Studios had been publishing as many as 10 comics a month featuring the Pixar and Disney characters. During their tenure with the license from January 2009 through December 2010 (2 years), they produced roughly 200 comics, and more than 30 trade paperbacks of that material. We don’t normally share numbers, but here goes: we were ordering between 10 and 15 copies of each issue, and 75 and 200 of each trade paperback, to be distributed through retail and specialty channels.
In the two years since Marvel acquired the license (January 2011-December 2012), they will have produced approximately 8 comic books, 8 magazines, and near as we can tell, 4 graphic novels (only 2 in 2012). Some of that was reprints of BOOM! comics. Some of that was reprints of Dark Horse Comics from a few years back. I should also note that it’s difficult for us to be sure about these, as there is not a dedicated Disney/Pixar section on the Marvel website after two years.
What you’re seeing there is a 90% drop in production on highly salable product. Books with international name recognition that we were selling a ton of, and those sales basically evaporated.
Now lets talk about Dark Horse.
Dark Horse is producing 4-5 comics based on the Star Wars franchise every month. Dark Horse is producing trade paperbacks of that material, omnibuses of that material, reprints of that material. Quite a bit of that material. We’d say probably 10-12 new trade paperbacks a year, 4-5 reprints. We’re worried, and I think justifiably so, that Marvel will do to the Star Wars license what they’ve done to the Pixar license, and just take hundreds of salable comics and dozens of salable trade paperbacks out of the market, to be replaced by… nothing.
Or rather, 4 comic books, 4 magazines, and 2 trade paperbacks per year, which is almost worse than nothing.
No specific disrespect to Marvel is intended with this message, they publish superheroes very well. Unfortunately they have elected not to publish Disney/Pixar comics despite having the license to do so, and made us (and quite a few fans) unhappy in the process. We’re just saying: don’t fix what isn’t broken. Let Marvel continue to publish superheroes, and let comics retailers and the book market continue to sell Star Wars comics. Particularly since we’ve been so badly deprived of Disney/Pixar comics, over the past 2 years.
The Staff of The Beguiling
My friend Don C. proposed an interesting theory to me last night when we were talking, he said that in his educated opinion (and he does know a lot about comics) the age of the Superhero Comic in North America was finished. That while there are still Superhero comics being sold, their future is as limited as their sales. (In the late 1980’s and early 1990’s, Marvel Comics were selling close to a million copies per title for their top tier, now they sell close to a million comics for their entire lineups!)
His thesis is that although it hasn’t become clear yet, Manga won. Not just in terms of sales, but in terms of being the comic form that captured the imaginations of the next generation of readers and creators. He sees superhero comics are largely running on inertia and nostalgia, and thinks that while they won’t disappear, that superhero comics will be a smaller and smaller piece of the North American comics landscape.
Now, this doesn’t mean all comics will become Manga, or even manga-wannabes (although the market does have a fair amount of both), but it does mean that a generation that sees comics as an open art form that can tell many different kinds of stories is now rising up. I myself agreed with this thesis when I thought about the current webcomics market. Those are the next generation of comic creators, and they’re producing slice of life, comedy, romance, drama, fantasy, sci-fi, and a whole lot of stuff that doesn’t fit into any one genre, but they’re not producing much in the way of superhero books.
Right now, part of the reason we’re seeing so much in the way of superhero movies is because the current generation (my generation) grew up in the great Bronze Age revival of Superheroes in the 70s and 80s. They’re the ones ruling the Hollywood roost, and they’re drawing from their formative reading years in what they’re producing. The upcoming generation grew up on Harry Potter and Manga, so what will they produce when they rule in the roost in 10 to 15? And will Superheroes still hold a place in that world?
While I love superheroes, I have to admit that for a long time I think they’ve been the thing holding back Comics as an art form in North America. Only superhero books seemed to sell, so that’s mostly what got produced, and people came to associate comics with superheros so tightly that I think it was hard to differentiate the two. Given that superhero books are inherently 14 year old power fantasies, it’s been hard for comics to break out of the ghetto society has placed them in. It will only be when we break the comic=superhero link that the art form of Comic Books will truly flourish and they will become an accepted medium in society as a whole.
As Don suggested, that may have already happened. We’ll just have to wait and see.
The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general—arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.
Kishōtenketsu contains four acts: introduction, development, twist and reconciliation. The basics of the story—characters, setting, etc.—are established in the first act and developed in the second. No major changes occur until the third act, in which a new, often surprising element is introduced. The third act is the core of the plot, and it may be thought of as a kind of structural non sequitur. The fourth act draws a conclusion from the contrast between the first two “straight” acts and the disconnected third, thereby reconciling them into a coherent whole. Kishōtenketsu is probably best known to Westerners as the structure of Japanese yonkoma (four-panel) manga; and, with this in mind, our artist has kindly provided a simple comic to illustrate the concept.
Fascinating idea. Although I wonder if what works for a Kishotenketsu in short comic form works as well for a longer work?
Also, I wonder about the claim that Kishotenketsu are really without conflict. The chaotic element is an element of conflict that is still resolved. Kishotenketsu seem to run like a formula:
A is true. (Panel 1+2)
B is also true.(Panel 3)
This is how A + B (which are in conflict) resolve. (Panel 4)
Is there not still a plot of conflict and resolution there? The only difference is that the result tends to be co-operative rather than a single side achieving victory. It’s not the 3 act structure, but it is still a plot centered around conflict. Therefore, claims of the Kishotenketsu form being without conflict are untrue. At least this is how I see it.