That's a brutal assessment of DiDio's career-to-date. I don't understand corporate culture, but as an observer of comics more generally it has always seemed to me that a whole lot of people could be held more accountable for the performance of their companies, and for the culture they foster in which others have to operate. (My performance since mid-2014 hasn't been great, either, but I own the joint.) It's not like with DC I can point to a lot of awesome publishing positives there, more like a scattering of decent-selling series, but maybe a few more will come to mind when I re-read Abhay's article. I'm happy to give space here and if it's of a high quality pay for the rights to anyone who would like to write a rousing, thorough defense of the arguments presented in that article; that would be interesting to read.
As far as DiDio goes, I've always thought if his job wasn't even close to being in danger in May 2008 when the first issue of the we-are-all-in Final Crisis somehow wasn't that month's #1 comic, he was going to be a really difficult fire. The nature of the success enjoyed by the New 52 publishing initiative seemed then and seems now like the kind of thing that keeps people in jobs, too, despite any number of caveats. People still remember the publicity-generating editorial tweaks and the lines outside of the NYC comic shops with that one. They don't remember it was a move that was self-correcting a couple of years of near free-fall, that Bob Wayne secured a lot of the retailer confidence involved, that the sales bumps enjoyed on certain books went away quickly, that the line once again became bottom heavy even more quickly than that, and that at best three or four characters were developed in an interesting way that might have other-media payoffs.
Anyway, that's a fun article; you should read it if you're a deep-diver when it comes to comic-book industry watching or if you ever want to work here. I've benefited greatly by comics' low standards, but we're at a point that's not good enough anymore -- doubly, triply, infinitely, finally so for the people whose performances have a drastic impact on a significant number of people's lives.
* video parade extra: not sure I can embed this video tour of Forbidden Planet NYC without it automatically popping up, so I'll direct you there in this post via the URL. That's a solid shop to shop in, I always buy something when I drop in. Most of what I look at is in the last 11 seconds, of course. One more time: that pops up really loud for me.
Michael Cavna gathers together various major political cartoonists' depictions of Donald Trump. There's some interesting stuff in there about how a few of them choose to do his mouth, believe it or not. A couple of the cartoons used made me laugh.
If Mr. Trump wins -- and he has a good chance of winning -- you're going to see the old adage that even the most brutally effective satire doesn't work anymore get a sound workout.
Festivals Extra: Argument For Expanding Cosplay's Role At Shows
Here. It's not something that applies to all shows -- I don't see this being a concern for SPX or Linework NW -- and I'm always confused when these things are changed from a strategy someone might pursue to an argument to be won on the Internet. Still, there are some details in there that are worth knowing if you follow the convention business.
I would imagine most people running a show with a cosplay element would prefer someone of value to a show be a guest of a show as opposed to a free agent and perhaps, say, charging for photos. I also have to believe this already happens with a few shows. Many of the shows are conceived of in broad enough fashion that paid costume people would seem way less of a stretch than people you're likely to see invited to shows if there are this many of them in 2021.
* what's newer that caught my on on Kickstarter: veterans Jan Duursema and John Ostrander on a project; another science comic, which is becoming a sneakily popular sub-category; the latest Erika Moen, crushing it; a sequel project reaching its first goal as I'm typing this; a Jack London adaptation far from its goal and one I hadn't noticed at all from Matt Lubchansky.
* Todd Klein on Swamp Thing #5. Alexander Jones on Civil War II #0. I haven't moaned like a moan-y old man recently about how much I hate the #0 books and the side series and the series that fold into the final book that you don't know worked that way when you're buying individual comics. I still feel that way, if anyone wondered.
* festivals extra: it's not my area of coverage with that particular show, and I suppose the Star Trek franchise isn't at its healthiest in terms of hardcore fan goodwill, but this has to be a good get for Comic-Con and it's interesting to see how they approach opportunities like this and having Conan O'Brien's show in town last year. I liked those first two new Star Trek films just fine -- they passed the time and amused me -- and didn't see a lot of difference between them. I felt the same way about the four most recent James Bond movies, so clearly I am no longer to be trusted for close analysis of pop-culture soaked movie-making.
* this site does a terrible job with discussing art direction and book design, but these Reprodukt editions of Jaime Hernandez's work sort of jumped out at me. It's interesting just how many approaches have been taken with Los Bros' work, the vast majority of which have been rewarding.
* someone hire Jason to do minimalist reviews like this for their site so we can read them all of the time. Not much more to say about most of those books. It's unbelievable to me that Jason is just now catching up to Saul Steinberg. There should be a holiday named after Steinberg and every citizen of the world should own at least three of his great books.