* Howard the Duck's cigar - HTD
* Rudy the chimp's hat and bow tie - RUDY the early 80s newspaper strip
* Alice the Goon's flower-topped hat - POPEYE
* Joe's weaponized cat - KING CITY
* Jaeger's armbands - FINDER
* Devlin Waugh's dressing gown.
* Dennis The Menace's black and red jumper.
* John Constantine's coat.
* Buster's cap.
* Zombo's pouch.
1. Dick Tracy's Watch
2. Kamandi's Jorts
3. King Mob's nipple-ringed tank top
4. Monkey D. Luffy's hat
5. Judge Dredd's boots
* Sluggo's beatnik beret
* Tubby Tompkins' jacket and shorts combo
* Roger Kaputnik's ascots
* Don Martin bent shoes
* Oliver Warbucks' sparkling diamond tie-pin
1. Black Jack's ribbon bow tie
2. J Wimpy Wellington's shirt
3. Captain Haddock's captain's hat
4. Tubby Tompkins' disguises as The Spider. They call him The Spider, see, because he spins a web.
5. Tubby's cousin Chubby's identical-to-Tubby-only-smaller outfit.
1. Ms. Tree's stylish trench coat
2. Mike Mauser's less-stylish trench coat
3. Uncle Scrooge's spats
4. Hot Stuff's diaper
5. Alanna Wolff's power suit
1. Doofus' stolen underwear (aka "stinkies") collection
2. The Happy Fisherman's fish
3. Bearded Windbreaker's windbreaker
4. Feldman's hat
5. Wimpy's tie
1 Tubby's hat
2 Wimbledon Green's cape
3 Howard the Duck's tie
4 Patty-Cake's green dress
5 BC's pelt tunic loin cloth thing
1) Archie's "R" sweater
2) Nipper's red-and-white striped shirt
3) Pigskin Peters derby hat
4) Walt Wallet's weird little sailor hat
5) Snoopy's flying helmet, goggles and red scarf (as his World War One Flying Ace alter ego)
1. Sam Slade Robo Hunter's cap
2. Rogue Trooper's boots
3. Possum Von Tempsky's military uniform
4. Dan Dare's formal spacefleet uniform
5. Judge Dredd's helmet
1. Kei's leather pants, Akira (Otomo Katsuhiro)
2. Valentina's over-the-knee boots, Valentina series (Guido Crepax)
3. Black Jack's ribbon tie, Black Jack series (Tezuka Osamu)
4. The Black Queen's eyepatch, Barbarella (Jean-Claude Forest)
5. The Rider's helmet, Night Business #3 (Ben Marra)
1. Scrooge McDuck's broadcloth coat
2. Woozy Winks' green polka-dot shirt
3. Tubby Tompkins' sailor hat
4. Lois Lane's pillbox hat
5. Hans von Hammer's flying ace helmet & goggles
1. Donald Duck's black sailor outfit
2. art spiegelman's vest
3. Snoopy's flying ace headgear
4. Joe Sacco's glasses
5. Dum Dum Dugan's bowler
1. Jughead’s S shirt
2. Toco’s sleeves
3. Powerhouse Pepper’s striped turtleneck
4. Harvey Pekar’s stained t-shirt
5. Sluggo’s hat
1. The Black Spy's hat
2. The Blackhawk jacket
3. The Little King's crown
4. Wendy the Witch's hooded witch robe
5. Toco's sweater
If Ma Hunkel wasn't a superhero, wearing a pot on her head would be the all-time #1. Maybe.
1: Monkey D. Luffy's straw hat
2. Popeye's sailor's cap
3. Corto Maltese's captain's cap
4. Army Shanks's knit cap
5. Sailor Moon's hair baubles
1. Mary Jane Watson's chainmail dress from the cover of Amazing Spider-Man 59
2. Jesse Custer's metal collar tips
3. Judge Dredd's shoulder eagle
4. Dennis The Menace's stripey jumper
5. Franklin Richards' 4½ T-shirt
1. Spooky's Derby
2. Freewheelin' Franklin's Cowboy Hat
3. Ogami Ittō Gi
4. Jesse Custers Clerical Collar
5. Ms Tree's Trench Coat
1. Groo's Cassette Tape thingee (across his chest)
2. President (of Ylum) Tyrone's Rocket shoe/foot
3. The World Famous Lawyer's Bowler Hat
4. Spaceman Spiff's goggles
5. Happy Hooligan's Tin Can
1. Mister Natural's robe
2. Constantine's trenchcoat
3. Little Nemo's pajamas
4. Corto Maltese's hat
5. Izzy Ortiz's nun habit
1. Jimmy Corrigan's Superman sweatshirt (borrowed from his dad)
2. Wimpy's little derby
3. Pogo's little referee shirt
4. Krazy's ribbon / bow tie
5. The curtain Eddie Campbell drapes over himself in Graffiti Kitchen when he's pretending to be the Apollo Belvedere, if I'm remembering the scene right.
* Opus' bow tie
* Charlie Brown's zigzag shirt
* Mina Murray's scarf
* Enemy Ace's overcoat
* Cheech Wizard's hat
1. Snoopy's World War I Flying Ace Aviator Goggles and Helmet
2. Chiyo Mihama's Penguin Suit
3. Miura Hayasaka's Cardbo Suit
4. Sakaki's "Chiyo-chichi" Hat
5. Phoncible P. "Phoney" Bone's T-Shirt
modified slightly from a suggestion by Stergios Botzakis; thanks Stergios
The top comics-related news stories from May 11 to May 17, 2013:
1. A Mike Peters cartoon was reworked by a publication so obviously it hurts one's teeth -- a common practice in this day and age of digital manipulation. Whether or not the attention driven to your issue balances against being criticized for this kind of activity, no one likely knows. Meanwhile, it's impossible to have a bad cartoon, the cartoon must be unfair.
2. The Brooklyn Comics And Graphics Festival, a successful arts- and alt-comics show that's been running since 2009, calls it quits.
Quote Of The Week
"Maybe that's why they never gave you an award before." -- my approximate memory of Doug Wright Awards host Scott Thompson to the cartoonist David Collier after Collier's rambling, chaotic acceptance speech.
today's cover is from the all-time series Classics Illustrated
The people on stage with you today stand right alongside the knowledge in your head as your greatest resource moving forward. May all your debuts be ACME #1s, and may all your contracts be more Kane than Kirby. Good luck. Please write. And draw.
Everyone Should Plan To Go To This Hellen Jo Show; Also: Please Stop Using Only Facebook For Events
So I just made a joke tweet about the artist Hellen Jo, using the time-honored construction of future generations judging us if we don't support that fine cartoonist and illustrator. People got worried. I think what happened is that the hosting store only used a non-accessible facebook page as the sole events page -- at least the only one I could find -- so when people couldn't get to it, it came across as worrisome.
So 1) please stop doing that, events-hosters. Not everyone is on Facebook and certainly not everyone is on your like list. 2) Everyone please plan to go to the above Hellen Jo show, because her work is really potent and funny and I think under-appreciated. The end. Sorry, Hellen. Sorry, everyone.
Extra apologies if this is just me not knowing how to link stuff, which is highly likely.
The Bill Finger Award committee headed by Mark Evanier announced today that Don Rosa and Steve Gerber will receive this year's award.
Don Rosa is best known for his work on the Disney duck comics, the exemplar of which is the 12-part The Life In Times Of Scrooge McDuck, an act of spirit and love based on various clues about the life of the Carl Barks character as dropped here and there over several years worth of comics publications. Rosa was a noted collected of comics -- he remains one, I believe -- and created Carl Barks-reminiscent work of his own before starting on the various ducks comics.
Like Rosa, Steve Gerber got his start in fan publications and made quality work of his own although his best-known and mostly highly regarded material was done for a corporate publisher. Gerber enjoyed several quirky and creative runs on various mainstream comic book series but remains best known for the co-creation of and subsequent series writing of Howard The Duck, a small publishing phenomenon of the 1970s and a distillation of various expressive elements of underground comics through the absolute mainstream; Gerber's work holds up on its own merits, too, sad and mournful and funny.
I believe Rosa's win is the first time the Finger Award has gone to a writer that is equally well known as an artist.
The award was instituted in 2005 at the behest and due to the hard work of the late Jerry Robinson. One living one deceased writer are selected. Its basic function is to recognize the contributions of writers that have yet to receive their proper due. The award will be given out at this year's Eisner Awards ceremony the Friday night of Comic-Con International weekend.
If you missed it, late yesterday the Brooklyn Comics and Graphics Festival announced its demise. This caught of lot of folks' attention for a number of reasons. First, conventions and festivals are super-popular right now, at least in terms of people trying to throw one, so someone taking a step in the other direction is worth noting. Second, that particular convention had been successful -- at least according to surface measures -- and popular. Third, New York shows are always interesting in and of themselves because New York is a major media center and the longtime capital of Comics USA; there should be shows in New York, massive and popular shows, but the degree of difficulty in pulling this off is immense. So those are three: I'm sure there are other reasons.
Reaction on twitter to news was immediate and generally laudatory in terms of assessing the event's brief history. As I imagine these things go, a show upon which people came to count -- I know of a couple of books that had already targeted the show for their debuts -- moving from a going concern to an "era" in the past made everyone in the small press, arts and alt comics worlds feel slightly older.
There are a couple of things worth noting the day after.
One is that apparently Tim Hodler is going to file a report, which is good because he was in the loop fairly early on and knows all the major players -- primarily the co-founders Dan Nadel, Gabe Fowler and Bill Kartalopoulos. That allows me and people like me to play catch for a while, at least until Tim files. If it's a good, we can maybe let his article stand as the one of record.
A second is that a lot of people are asking who benefits, which I think a fairly intriguing topic. I would imagine that a bunch of people/events could.
a) if a similar show comes from one of the co-sponsors and fill roughly that same calendar space, I think memories of BCGF are positive in a way that exhibitors and attendees would give that one a whirl.
b) I know that a bunch of folks are committed this year to the festival of cartoon art in Columbus, Ohio being held in conjunction with the opening of the new Billy Ireland spaces. That's actually been one of the cooler shows of the last several years, what they've done there every other year without the facility event to hang this stuff on. It's been primarily strip-oriented, but that's going to change a bit with this one. You might not get exhibitor interest, or creators that operate as exhibitors, with that one in the same way -- there's no small press room for folks to set up and sell things, as far as I know -- but if you're a fan like me looking for a comics-related trip between SPX and Angouleme, that would seem to fit the bill. Plus I like Columbus. So I'll be there.
Plus maybe if enough people show up we can convince Jeff Smith to host a cookout.
c) there's another festival in the same general neighborhood as BCGF. It's small, but a lot of early comics shows stay small for quite some time before something happens to make them grow. An operating show means an option for people in the borough to exhibit locally that might now be more attractive, and an infrastructure that could maybe move into an open Fall slot.
d) SPX potentially becomes that much more important for people that might not be bothered to go if they could just stay closer to home and hit Brooklyn. While the rest of us slept, Warren Bernard likely wrote a position paper on New York fan outreach.
e) NYCC might get a slight boost from those of us that want to travel to New York in the Fall under the auspices of a working comics weekend, even if the thought of spending a bunch of time on the floor of the mainstream- and con-culture oriented Reed-run show makes us queasy.
f) APE is suddenly in a much better position to become a more significant capper for the year in small press, and a trip to San Francisco is probably one of those experiences out there closest to a trip to Brooklyn if you were going to BCGF just to go hang out in a cool city for a couple of days.
g) TCAF. I'm sure TCAF wins in this scenario somehow, because TCAF usually just wins stuff. I guess they could maybe rope in one of the co-organizers into a more active role up there...? I don't know. They'll do something with this if there's something to be done.
h) MoCCA -- if this show fits into the Society Of Illustrators plans moving forward -- and I suspect it does for the short term at the very least -- I imagine they might get a slight boost from simply being a New York show and thus attracting a few of the folks for whom BCGF was their sole local comics show to attend. I know it would become more important for me to hit MoCCA if I had fewer chances to just get to New York, even for a little while. I suppose with TCAF in the Spring MoCCA might also consider a Fall date if one were suddenly open this way, but that's pure conjecture on my part.
I'm sure there are others. The thing about shows is that they're not only relatively successful right now as a group but they traditionally provide opportunities for non-comics makers to be involved in a significant way in the world of comics -- something that a lot of folks want. I have to imagine that all of these interests will coalesce into something similar as the departed show, but even if they don't, there will be a real impact felt in that creative milieu.
Bundled Extra: Oily Comics Makes Move Outside Of Its Mini-Comic Format With Josh Simmons' Habit #1
Oily Comics Publisher Chuck Forsman has announced a full-sized, more comic-book type comics work debuting at this year's CAKE show: Habit #1. Josh Simmons is the main talent on display here, this time working with collaborators such as Wendy Chin and Karn Piana. The format is 7 by 8.5 inches, 52 pages in black and white with color covers, $5 cover price.
Simmons seems a good choice for something like this: he's a compelling, prolific talent whose work seems suited to publication outside of on-line postings and book collections. He also has a pretty solid relationship with Fantagraphics for the latter, giving Forsman's mini-comics house an opportunity to work in a slightly different way. I also think that CAKE should end up being a solid show for debuts like this one. Simmons plans to be on hand.
* I greatly enjoyed reading this post from Gary Tyrrell about Team Foglio's use of crowd-funding mechanisms, if only because it's more of a piece from someone that covers the on-line comics world more than it is someone that's focused on the ins and outs of things like Kickstarter. It would seem something perfectly suited for that kind of campaign.
* this is so obvious it's almost silly to point it out, but it seems that a lot of what comiXology is offering right now in terms of sales is focused on tie-ins to wider media, like the Iron Man and Star Trek movies.