Plus: designing variant covers, Sonny Liew, Tillie Walden, Simon Hanselman, food in San Diego.
Veteran artist Mike Ploog, known to comic fans as the co-creator of Ghost Rider, announced he will be retiring after a 47-year career. His career began with Filmation, as a clean-up artist on Batman and Superman, and eventually was promoted to layouts. He moved onto Hanna-Barbera, continuing his layout work until he became the assistant to Will Eisner.
He made his comic book debut on Werewolf by Night in 1972. Since then, he was credited as a co-creator of Ghost Rider and notable artist on Man-Thing, Planet of the Apes and The Monster of Frankenstein. Later in his career, he did minimal comic work, but teamed with J.M. DeMatteis on Abadazad in 2004.
The comics market is growing, but monthly comics are not. Also: A week of great comics articles from NPR!
By the Numbers: The comics market increased by 5% to a total of $1.085 billion in 2016, according to an estimate by Milton Griepp of ICv2 and John Jackson Miller of Comichron. Graphic novels sold in bookstores accounted for almost all the growth, however; they were up 16%, while sales of monthly comics in comic shops, on newsstands, and in digital format remained flat. Griepp saw the graphic novel growth as evidence that the market is expanding, as more women and children find graphic novels, while Miller credited Marvel’s Star Wars comics and DC’s Rebirth event.
Whatever Happened to comiXology? Three years after the largest digital comics service was purchased by Amazon, they still have plenty going on, says comics-biz maven Rob Salkowitz, including using Amazon’s “affinity marketing” (if you liked this, you’ll like that) tools, expanding to foreign audiences, and bringing in new readers via the ComiXology Unlimited, Kindle Unlimited, and Prime Reading programs.
A North Korean cartoonist looks at the lighter side of defection, an American cartoonist turns down an Iranian award, and Humanoids announces an all-ages horror graphic novel.
Struggles and Smiles: Former North Korean animator Choi Seong-guk was surprised at how different the comics were when he defected to South Korea: “When I first saw South Korean cartoons, I just didn’t get them,” he says. “There were no stories about patriotism or catching spies or war. They just seemed useless to me.” There were a lot of other differences too, including some idioms that he misunderstood. Now he has turned his experiences into an online comic that depicts both the funny and the serious side of the lives of North Koreans at home and in South Korea.
Plus: Udon to publish Daigo manga, another comics shop is robbed, a comics professor quits his job
It’s official: Comic-Con International will remain in San Diego for now, resisting the blandishments of other cities such as Los Angeles and Anaheim, which have been trying to woo it away. San Diego Mayor Kevin Faulconer announced on June 30 that the city has signed a three-year deal with Comic-Con that will last through 2021; the current contract ends after next year’s show. Faulconer made a pitch for expanding the convention center, something that has been talked about for years now; the City Council recently refused his request to put a special tax on the November ballot to fund an expansion. Con-goers get a bit of a break in this new contract, though: The last contract held all hotel rooms to their 2016 prices for the duration, and the new one only allows a 4% increase over the 2018 price over the subsequent three years.
Plus: ‘Check Please’ goes to First Second, ‘Infini-T’ Force goes to Udon, Jill Thompson, Red Planet and more.
A Pirate’s Life… Ain’t what it used to be. Cecilia D’Anastasio talks to several former scanlators (including NJT, who set up MangaHelpers back in the day) about their struggles to go legit, and she also talks to some legitimate translators about what they do. While scanlators defend what they do as providing a service by fans, for fans—no ugly profit involved—it’s also true that publishers may not want to license a series that is already being widely read on bootleg sites. Also, they are finding that publishers don’t want to hire them, and the pay isn’t enough to let them quit their day jobs. Because, as Kodansha Comics’ Ben Applegate observed, “Whenever there’s a large group of people giving away their labor for free, it’s going to depress pay for those who are trying to do things legitimately.”
The former owners of Emerald City Comic Con will pay $493,227.84 to former volunteers and the attorneys who represented them under a settlement that will keep the matter from going to court. Jerry Michael Brooks, a former volunteer at the con, filed a class action suit on behalf of all volunteers who worked at ECCC in 2014 and 2015, claiming that they were treated like employees and therefore should have been paid for their work. (Seattlish posted the details of the suit when it was first filed.) Under the settlement, Eitane Emerald Corp. and the Demonakos family will pay almost $500,000 to the volunteers, with the lawyers scooping up $123,300 for their troubles, Brooks getting $5,000, and the 250 or so other “volunteers” will divvy up the rest according to how many hours they worked. Although the defendants admit to no wrongdoing, the payments to the volunteers are to be regarded as part wages, part settlement for nonpayment of wages. ReedPOP, which purchased the con in 2015 and ran the 2016 and 2017 events, does not use unpaid volunteers.
Plus: Jack Kirby and William Messner-Loebs to receive the Bill Finger Award, why millennials like webcomics and more.
IDW announced its all-ages Star Wars Adventures comic series a few months ago, but they sprang a surprise this week: In August, they will publish an 80-page graphic novel adaptation of the movie Star Wars: The Force Awakens. The graphic novel, which is also intended for younger readers, is part of Disney’s Journey to Star Wars: The Last Jedi publishing program, which is designed to gin up excitement for the eighth movie, Star Wars: The Last Jedi, which will be out in December. The writer of the adaptation is Alessandro Ferrari, and the art is provided by “a group of Disney artists intended to bridge the gap between Star Wars and traditional Disney animation, making it more attractive for younger audiences.” You’d think people with that sort of ability would merit an actual name credit, but I guess not. This same anonymous group has done other Star Wars graphic novel adaptations that were published by Disney Lucasfilm Press, and in fact, Bleeding Cool notes that this graphic novel was announced in an article about them almost a year ago. That means the big news is really the publisher—it looks like IDW, will launch Star Wars Adventures in September, is becoming the chief publisher of Star Wars comics for young readers.
A cartoonist gets his career back, manga and kids’ comics are booming, and a con veteran offers advice for first-timers
Trolling the Trolls: Your bizarre read for the day is Emma Grey Ellis’s account of the strange career of Ben Garrison, a libertarian political cartoonist who became a sort of real-life Pepe the Frog after alt-right trolls started altering his cartoons to include Nazi imagery and seeded the internet with fake stories:
Plus: The mother of shojo manga, Naruto and real-life politics and more
David Draize, owner of Galactic Comics in Ocean Beach, California, doesn’t know why someone hurled several bricks through his store window, but he’s grateful for the police response that followed. Security camera footage shows a man in his 40s or 50s, clad in black, throwing several bricks and cinderblocks through the store window at about 1 a.m. on June 12. Nothing was taken from the store, in part, Draize believes, because the police officers who responded stayed to guard the store till he could get there.
Amalgam University Gets Its First Grant: In happier retailing news, Ariell Johnson, proprietor of Amalgam Comics & Coffeehouse in Philadelphia, has been awarded a $50,000 grant from the Knight Foundation to set up a programming space, which will expand the footprint of the store and allow her to create an “Amalgam University.” Johnson says that because she sells self-published work, she sees a lot of comics that have potential but are falling short in terms of craft. She hopes to offer classes to help those who can’t go to art school learn the nuts and bolts of making comics.