In 1994, X-Men: The Animated Series was still going strong, and X-Men comics were buoyant. Things were going pretty poorly for Wolverine on both counts; season three of the cartoon began with his delicate ex returning as Lady Deathstrike and moved quickly into the Phoenix Saga, whilst March brought the wedding of Scott and Jean into the pages of X-Men. That poor sad gravelly muscle beast! Marvel took pity on him, I suppose, and farmed out publication of Francine Hughes’ Wolverine: Top Secret. It’s a novel. It’s for young readers. The first chapter is called Chapter 1: The Prom.
This weekend's Denver ComicCon came under fire when attendees discovered that a Women in Comics panel had only male panelists. While a representative of DCC has defended the panel as "not about current women creators or anything to do with industry bias," it seems odd that a convention with Trina Robbins, the eminent historian of women as creators and characters, as a guest would not invite her to join in on a discussion of the history of women in comics. While the misstep here is primarily on the panel organizers, it also raises a question of what obligation conventions have to moderate and comment on panels that are accepted.
This weekend saw the annual Glyph Awards Ceremony take place in Philadelphia, at the East Coast Black Age of Comics Convention. The awards champion and celebrate the best in comics made by, for, and about Black people, although the nominations are not exclusively limited to black creators.
You may have read Jill Lepore's op-ed about A-Force #1, which caused some consternation in the comics community. It was an odd piece that not only reinforced a lot of the "comics are just for kids" stereotypes from mainstream media, but also put a lot of shame on the superheroines, and on the creators of A-Force.
A-Force writer G. Willow Wilson posted a thoughtful response on Tumblr, which we've reprinted here with her permission.
Hire This Woman is a recurring feature on ComicsAlliance that shines a spotlight on female comics creators, whether they're relative newcomers or experienced pros who are ready to break out. In an overwhelmingly male business, we want to draw your attention to these creators --- and to raise their profile with editors and industry gatekeepers.
Artist Megan Levens worked in advertising for years before moving into comics, where she's built up an impressive resume already. She's drawn books like Madame Frankenstein and Ares & Aphrodite and is currently illustrating Buffy Season 10.
Everyone deserves stories about heroes who look and act and live like them; the ability to inspire people is one of the great real world powers that superheroes all share, so it's important to have heroes from every walk of life. That's true for readers inspired by Ms. Marvel or the new Thor and Captain America, and it's just as true for the country music fans that the Average Joes music label hopes to reach with its new line of heroes inspired by its performers!
Music producer Shannon Houchins and country rapper Colt Ford are the founders of the music label Average Joes, and in addition to representing their artists, they've also turned them into heroes in a series of comics sold through the Average Joes website, created by writer Doug Wagner and artist Daniel Hillyard and published by 12 Gauge Comics. As the video trailer above reveals, the heroes' tongue-in-cheek powers include banshee yells, redneck shape-shifting, and transforming into a mud-man. Shannon Hoechins explained why he felt it was important to create country music heroes.
In 1978, a group of A-list comics creators calling themselves the Comic Book Creators Guild gathered together to attempt to unionize. Members of this group included Paul Levitz, Neal Adams, Jim Shooter, Frank Miller, Walt Simonson, Chris Claremont, and more. One of the things the group did was put together a list of recommended rates for publishers, which CosmicBookNews posted last week. The union ultimately didn't work out, and the saddest thing is that the very reasonable rates they posted still aren't hit today by many publishers, even adjusted for inflation.
We have to believe victims of harassment, even in conditions that we’ve been taught should excuse us from giving a damn: what the victim was wearing, what they’d done with the harasser previously, whether we even like the victim personally, and, perhaps most importantly, who the harasser is.
We want an excuse not to believe, because it would release us from the unpleasant matter of figuring out what to do next. This is an especially thorny problem online, where we act as if we only have two options: join the angry mob with pitchforks, hounding the guilty party out of our spaces and off the web (or out of the industry) entirely, or… do nothing.
The Comic Book Legal Defense Fund just announced their new tool, the Comics Connector, a resource for educators and librarians to help them find comic professionals willing to speak with students and others. This is a great service that helps increase the access that librarians and educators have to people in the comics industry, and it may help get introduce comics to more people.
The butter tart is one of Canada's great cultural contribtutions to the world. The Toronto Comic Arts Festival (TCAF) also fits squarely in that category. So it's apt that these two juggernauts of the North have come together this weekend --- the very weekend of TCAF --- in the form of a handy map of Toronto's finest butter tarts created by two of TCAF's critically acclaimed guests; Super Mutant Magic Academy author Jillian Tamaki, and Ant Colony author Michael DeForge. If you're hitting up the festival this weekend, you may want to set aside a little time for a butter tart pilgrimage.