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More cartoons HERE!
1) What challenge are you working towards?
2) What is a memorable horrible weather run you have?
3) How do you make it through really though moments in a run?
Tell myself to make it 5 minutes more…just keep going.
Stars: Aaron Johnson, Christopher Mintz-Plasse, Chloe Grace Moretz, Nicolas Cage
Fans of Cartoon Network’s Samurai Jack are finally being tossed a bone. Nine years after the series finale of Genndy Tartakovsky’s show, IDW Publishing has announced a new comic book featuring the continuing adventures of Jack, the dimensionally displaced warrior and his epic quest to destroy the wicked overlord Aku.
Written by Jim Zub (Skullkickers) and illustrated by Andy Suriano, the new comic will pick up where the series left off, beginning with a five-issue storyline called Rope of Eons. Suriano, who designed characters for the show, reflected on returning to the popular character via press release: “Returning to Samurai Jack is such a personal experience and labor of love for me. It’s like stepping through a time portal back to characters I know as friends and a world that really launched my animation career.”
The first issue of Samurai Jack, which will begin in October, will feature a variant cover by show creator Genndy Tartakovsky, as well as one by Rob Guillory (Chew).
(via Comic Bastards)Add a Comment
Great article by Cory Doctorow highlighting a new educational resource about comics’ role in literacy. Titled “Raising a Reader” and written by Dr. Meryl Jaffee, this resource is aimed at parents and educators and is available in PDF form for free download.
Dark Horse Comics announced this week the launch of the newly formed Kitchen Sink Books imprint. The venture will begin publishing books in late-2013, with a focus on large-format art books, archival reprint collections, and original graphic novels. If the name of the imprint sounds familiar, that’s because it’s headed by alternative publishing pioneer Denis Kitchen who ran Kitchen Sink Press between 1969 and 1998. His partner in the new venture is book designer/editor John Lind, with whom he had previously run Kitchen, Lind & Associates.
I discovered John’s work as one of the designers of the fantastic coffeetable book The Art of Harvey Kurtzman: The Mad Genius of Comics, which was co-written by Kitchen. The book impressed me so much that I contacted him to ask if he would be the designer of my Ward Kimball biography. He agreed and Chronicle hired him for the project. John set up a beautiful layout for the book, and while his work on it will sadly never see the light of day, it was a rewarding experience personally to work with someone so talented at what they do.
Both John and Denis have a great aesthetic eye, and hooking up with Dark Horse sounds like a perfect match, both for them and comic fans. “John and I have packaged books for a number of first-rank publishers, but we have long discussed the ideal house to enjoy maximum freedom and creativity,” says Kitchen. “In longtime friend and publisher Mike Richardson and Dark Horse Comics, we found just that. It’s a kinship born of creator-friendly environments, a commitment to upholding comics history, and beautiful books produced by talented creators that we can be proud of.”
Kitchen Sink Books will initially release four to six books per year, beginning this November with The Best of Comix Book: When Marvel Went Underground!, which is:
A collection of the long-out-of-print underground Comix Book series (1974–1976) that was originally edited by Denis Kitchen and Stan Lee for Marvel Comics. The collection will include work from underground creators such as Joel Beck, Kim Deitch, Justin Green, Harvey Pekar, Trina Robbins, Art Spiegelman, Skip Williamson, and S. Clay Wilson. The book will feature an introduction by Lee, a foreword by Kitchen, and an essay written by James Vance (Kings in Disguise), accompanied by unpublished artwork, photographs, and correspondence from Kitchen’s archives.
A preview of the book’s contents can be seen on BleedingCool.com.
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The truth is the running is awesome, duh. It keeps me sane, and probably you too. But the fact of the matter is…
No, I am not dead…lol…I apologize for my sudden plummet into blog oblivion the last few weeks. I wound up with some broken arm bones that limited my typing to the hunt/peck method which left me typing at about 2 words per minute. Needless to say I had to be stringent with where I could put my time and wordage…into the paying gigs, I’m sorry, Blog. But I’m doing better and will try to not to leave you with so much [radio silence??]!
Check out some more awesome cartoons HERE!
I also have an article over at Run Blog Run: “How Young is Too Young?”
1) Chocolate of Vanilla?
Chocolate trumps weenie vanilla any day.
2) Have you been glued to USA Track Champs coverage?
You should be.
Animation veteran Gabe Swarr has been pumping out webcomics and short animated webisodes of his nostaglia-hued Life in the Analog Age for the past couple years alongside his studio day job. Earlier this week, he relaunched the property as a weekly animated series online, with the goal of new episodes every week. I chatted with Gabe via email about his decision to shift his online focus from comics to animated shorts, teaming up with Frederator’s new Allied Media label, the pros and cons of pitching, and the best advice for others who want to do their own online series.
Cartoon Brew: You have a full-time job as the supervising producer and director of Nickelodeon’s Kung Fu Panda: Legends of Awesomeness. Where do you find the time to also write, animate and do the sound for a weekly series all by yourself?
Gabe Swarr: Everyone asks me that! I wake up very early, every morning at 6AM. I exercise, get my morning chores done, and get to my desk for at least two hours of work before going into Nickelodeon. This is the best way I’ve found to make sure I have a sizable block of focussed uninterrupted time to get stuff done. Also working in the morning insures that I’m not exhausted from my day job.
Cartoon Brew: That still doesn’t explain where you get all your energy from. What does a typical Gabe Swarr ‘power breakfast’ consist of?
Gabe Swarr: Ha! Just some cereal and a banana, nothing exciting I’m afraid. I think it’s more the exercise than the breakfast! I actually starting running in the morning over a year ago. It has made a huge difference, and hopefully I’ll be alive a little longer to make even more stuff!
Cartoon Brew: What do you hope to accomplish by turning Life in the Analog Age from a comic and occasional animated webisodes into a regular animated webseries?
Gabe Swarr: I really want to get more people to see the series. I love sharing these stories and memories. There’s always such an amazing response from the comics, and I want to really focus on translating that to the shorts. I also think that the fact that it’s animated is a more unique way to experience the series. There are a lot of “slice of life” and autobiographical comics, but very few animated series like this one.
Cartoon Brew: In Analog Age, you try to express your honest emotions as they were at the time, whereas so much of today’s entertainment culture looks back at the past with snark and irony. How did you decide on your more affable approach to storytelling?
Gabe Swarr: Analog Age started as a complete departure from the things I do in my day job. I wanted to slow down the pace and express moments or feelings that you just don’t see in too many other places. The more I did it, the more I found the real tone of the series and learned more about the way I think our brains work.
I’m pretty sure our memories aren’t just a series of remembered facts of events. When you think back and remember how things were, yes you do recall what happened, but it’s not always accurate. That’s because, yeah, it was a long time ago, but it’s mainly because you’re using how you felt at the time as a frame of reference. Our memories are wrapped up in them. That’s nostalgia to me, true nostalgia, and that’s a lot harder to capture than just making fun of pop culture, fashion, or how poofy hair styles were.
That being said, when I do go back and look and unlock those emotions and feelings, I have to find a narrative or story in them. I have to remove myself and look at that moment from my current state of mind, and sometimes some of the best humor or scenes come from making fun of myself or the poor choices I made then, like this:
Cartoon Brew: Assuming that most of the stories are rooted in truth, have your siblings or parents had any reactions to the stories you’re telling, or expressed surprise at any events you’ve depicted?
Gabe Swarr: Yes, it’s all true. There are some stories that my Mom isn’t too fond of. She is the only family member who has spoken up about how they are being portrayed. When I’m making them, I’m never thinking about that. Some of the stories that didn’t put me in a good light were the ones that got the biggest reaction or started the most online conversations like “Hero”.
Cartoon Brew: Life in the Analog Age is becoming part of something called Frederator Allied Media which is a division of Fred Seibert’s company. How does that work?
Gabe Swarr: Well, I keep everything on my YouTube channel. I have complete creative control over schedule and content, but now I’m part of their ‘network.’ My cartoons can be seen by their 75,000+ subscribers as opposed to my 1000+ subscribers. We do an ad revenue split which motivates them to find sponsored ads.
Cartoon Brew: I think pitching ideas to networks and doing pilots is stupid in this day and age of the Internet. Am I wrong?
Gabe Swarr: I can’t say that you’re wrong or right, it depends really on what you want. If you want your show to be seen on worldwide TV, collaborate with working professionals, and not pay for the actual production, then yes, that’s a great way, and it’s been done for decades. There are some drawbacks though, first be prepared to sell full ownership of your idea, and the process is a very collaborative one. Your ideas might change a lot by the time it reaches the audience.
If you want full ownership, full creative control, and having a direct line to your audience, then online is the way to go. Be ready to pay and do the entire production yourself (or with generous friends), and work very hard to build your own audience basically from scratch.
So there are pluses and minuses to both approaches. Personally, I’m doing both traditional TV development, and indie online right now.
Cartoon Brew: The way I see it is this: a creator has the same shot of getting a pilot picked up for a network series as they do having a breakout web series. Except that the web creator ends up with much greater leverage,and therefore it’s more profitable for them. The “Annoying Orange” guy, who started out on the Web, is one of the few show creators who managed to launch a show on Cartoon Network without losing his ownership rights. Or take “Simon’s Cat”—360 million views on YouTube, 8 bestselling books, and now he’s beginning to license to other media platforms while still retaining ownership of his creation.
Gabe Swarr: Yeah, I think it’s great for those people, but like I said, they had to build that audience from the ground up themselves. That’s a job in itself and not an easy one. I spend a lot of my time responding to comments, posting, reposting, revising based on feedback on top of just making everything. Some people can’t or don’t want to deal with all of that. That might be one reason they go through a TV network, but the profitability is the trade off.
Cartoon Brew: Pretend I’m an animation executive. Gimme your elevator-pitch for Analog Age.
Gabe Swarr: Life in the Analog Age is an all-ages animated webseries all about growing up in a time before the digital age. It is a collection of vignettes that follow a “Little Bear Kid” in a time of his life where he is discovering himself and the world around him. All based on true events.
Cartoon Brew: Sold! Now give one piece of advice to someone who wants to start their own online animated webseries.
Gabe Swarr: The big overall thing is when creating anything, make sure it means something to you and that it says something. There are so many things out there that are just meaningless. It’s all like candy, fun to eat, but no nutritional value. You can’t live off of it. You want your creations to have some kind of purpose in the world, something that speaks to the people, and if it doesn’t, why make it in the first place?
Cartoon Brew: If you had to give up all your digital equipment (Cintiq, iPhone, new video game systems, etc.) tomorrow, do you think you could comfortably live again in the Analog Age?
Gabe Swarr: I totally would, but as long as I magically had no foresight into how things work now. I would go crazy missing the way we can use the Internet to learn, communicate, and distribute. I would also miss how much paper I’m saving by working digitally, but I would not miss the new video game systems at all! I still fire up my old N.E.S. to beat my favorite games.
For regular weekly episodes, visit LifeInTheAnalogAge.com.
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IDW Publishing and Yoe Books are set to release John K Presents: Spumco Comic Book in June. The 160-page book reprints the original run of four Spümco Comic Book issues from the mid-90s, which were published by Marvel and Dark Horse. In addition, the book will include an unpublished 25-page story called “Jimmy the Drooling Numbskull in Nutty the Friendly Dump,” which is dedicated to Chuck Jones “for the decades of warmth he’s brought to lovers of cute cartoons everywhere.” The book features the drawings of John Kricfalusi, Jim Smith, Vincent Waller, and Mike Fontanelli, inking by Shane Glines, and stories by Rich Pursel.
IDW provided Cartoon Brew with an exclusive preview of the book including a couple pages from the never-before-published “Nutty” story. Pre-order on Amazon for $22.98.Add a Comment
Eleanor Davis is an artist in Georgia who creates comics and illustrations.
Above is an alternate cover that Eleanor illustrated for an Adventure Time comic book.
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I’m a runner. You can call me every insult in the book and I really won’t care. I will probably even laugh. But the second you call me a JOGGER…all bets are off.
Make your running even FASTER…posts HERE, HERE, and HERE.
More Runner’s Strip comics and cartoons HERE.
1) What’s something that non-runners say or ask you that may annoy you?
2) Do you use runner and jogger interchangeably or do you definitely keep the adjectives in line?Add a Comment
My ability to function as an individual relies quite heavily on my running. Perhaps more correctly my ability to function as a sane and friendly person does.
I like to run first thing, I try to not go out into normal society until after my run…more out of a courtesy. I’m pretty sure I’m grouchier. It’s because something IS wrong with me, there’s a bit missing. It’s my ‘fix’ of miles and endorphins.
So please, for the sake of yourself and everyone else, don’t speak to me until after my run. I promise that I AM a kind, engaging, and humorous person. The pre-run version of myself…we’ll just think of that as my ugly, evil, non-running twin.
More cartoons HERE!
1) When do you like to get your run in?
2) Do you definitely feel like you’re a different person pre and post run?Add a Comment
There is an art to simultaneously running and farting. To be properly mastered, it takes an expert combination of selective muscle control and timing with your stride.
That said, there are few things more gratifying than running and letting go of that abominable bubble of gas in your intestines. The joy of letting one rip is only exponentially rewarding when you’ve been carrying along a potential GI disaster for miles, painfully holding back, but then realize that rather than a number 2 on your hands, the mounting, monster pain-ball was only…GAS!! Pit stop averted.
Go along and keep perfecting your running farts, Runners. Though, what separates the Lukes from the Yodas among is are the ones who can relax/contract/time during races and hard workouts without losing so much of a millisecond off their pace.
GI issues for runners addressed HERE and HERE.
More Runner’s Strip and cartons HERE.
1) Worst GI nightmare run?
2) Name a time when you thought it was going to be a nightmare number 2 episode while running but then realized it was just a big ball of gas…you can’t tell me the amount of relief you feel is nearly euphoric.Add a Comment
Please, Runners, if for no other reason than the sake of vanity do what you can to improve your form.
Joking aside, running with proper form will make you more efficient…running more efficient will make you faster. And hey, you won’t look like this poor sap running either…PERK!
Posts all about form and how to improve yours HERE, HERE, and HERE.
More running cartoons HERE!
1) What’s the craziest looking runner with poor form you’ve seen before? It’s okay if you were looking in the mirror.
2) How has your form improved? What form related work did you do or are you doing?
3) Finish this sentence: I may have poor form but at least I don’t look like…Add a Comment
Ronald “d-pi” Wimberly is an artist who has worked in film, fashion, comics, and most recently, animation.
He is the author of the comic book Prince of Cats, which was published by Vertigo. As his foray into the animation production world, Ronald has been designing characters on Black Dynamite: The Animated Series for Titmouse.
Ronald’s artwork often features figures in action, stretching and lunging through exaggerated space. He posts a lot of new work on his blog.
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You know the kind of feeling where your running shoes are staring up at you, two gaping black holes where your feet SHOULD be.
In case you ever need that extra shove out the door I introduce to you the latest line in running shoes. Other quotes include:
* Love me.
* Erase me.
* I see you.
* That pint will taste better earned.
* You can’t see any writing on a winner’s shoes.
Whatever your shoes are saying to you, don’t let them mock you. Shut them up. Put your feet in them and get running.
1) What should be another quote/quip to add to our line or running shoes with sass?
2) What’s something you tell yourself if you’re lacking in the motivation department?
Remind myself that my own running guilt is NOT worth putting up with if I weenie out.
Stefan Gruber is an artist, animator, musician and teacher. He founded and teaches in the animation department of the alternative high school, Nova, in Seattle.
Stefan’s work is personal, often experimental, and always worth experiencing for its original perspective.
One of his long-standing platforms for broadcasting his various work is the Fantasy Pleasure Complex, which may be best described as an online, multimedia zine. Ten issues have been published, and each is designed as an interactive Flash screen that is a unique work itself and allows access to other videos, comics and experimental pieces.
Fantasy Pleasure Complex was strange and exciting to experience at its debut in 2000, and still stands as a strong, independent presence that is like nothing else online in 2013. Find the vertical column of numbers in the lower left of FPC10 to navigate backwards to earlier editions.
A small sampling of his animation is available his YouTube account, such as “Six Mystic Flipbooks; Magic Gems of Animation”:
A short documentary from producer Patricia O’Brien and director Paige Barnes on Stefan is here is a good introduction to him and his work:
Another more recent short about Stefan from Ben Taylor and Brittany Alsot is here:
Michael DeForge produces a lot of work. He contributes designs and storyboards to Adventure Time and produces comics and illustrations regularly. His comic Ant Comic is being collected and published by Drawn and Quarterly, and was recently reviewed on The Comics Journal.
Michael is largely a digital artist, drawing from sketch to final stages entirely on the computer. His letter forms and title designs are as unique and varied as the strange characters that inhabit his comics. He has a blog and Tumblr with lots of work to view.
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Over at his blog, Sonny Liew’s been posting some lettered pages from his as yet untitled upcoming book with Gene Yang for First Second, and it looks pretty great, particularly that 50′s inspired pulpy cover. As a fan of Liew’s work, I’ve been keeping up with this project for a while, (although aware of Yang -as the author of American Born Chinese and Level Up- I’ve yet to get round to reading any of his books), so I knew it was a retro superhero book, but that’ s about it. Here’s an exclusive, and intriguing, little synopsis from Liew:
‘It’s basically a origins story of a character created back in the 40s – his distinction being that he was meant to be Asian American. Gene has been exploring identity issues with his comics, of course, so this is another angle.
One of the interesting things about the comic was that the artist and creator (Chu Hing) has to go out of his way never to show his face in the comic – which apparently was due to his publishers or editors not wanting to reveal too clearly that he was, in fact, Asian! We did try to incorporate those elements into the book.’
Chu Hing is credited for working on 29 issues in the 40′s and 50′s, 4 of which were on a title called Blazing Comics (the book Liew’s homaged in the cover above). These books featured the character Yang and Liew are reviving: Green Turtle- ‘the first Asian superhero’, a ‘mysterious individual who almost never let anyone see his face (the reader included). Armed only with his wits, combats skills, a remarkable light aircraft (the Turtle Plane,) and a mystic jade dagger, he and Burma Boy, a youngster he saved from the Japanese, flew across Asia battling the Imperial Japanese Army. While having no obvious powers granted by his jade dagger, he did seem to cast a shadow that had a bright pair of eyes and face.’ (via Comic Vine)
No projected release date for this yet, but another title to add to your list of ‘books to keep an eye on.’Display Comments Add a Comment
An exciting new original graphic novel from Serena Obhrai and Jennie Gyllblad following the epic adventures of a not so ordinary girl.
One of the huge benefits to co-organising the Women in Comics Europe community (and its communal output page) has been getting to know many of the extremely talented women in the industry and keeping up with their various projects. One such artist is Jennie Gyllblad, whose bi-weekly Jenspiration webcomic has become part of my regular reading, and I was thrilled to hear that she was involved in a new project that really showcased her work.
Elysia is a 300 page urban fantasy and sci-fi graphic novel written by the prolific Serena Obhrai, that is currently causing a storm on Kickstarter. With 21 days still to pledge the project has already achieved 74% of the funding required and shows no sign of abating. In other words, get in quick!
Part of the popularity is surely down to the pitch itself, a tale of a fictional future where angels and humans have to coexist side by side, the former guarding the latter but never to enter a relationship with each other. Elysia is the result of a broken rule, and is not only struggling with the usual perils of growing up, but with the clash of cultures and identities within her, as well as being the key to saving the world! Importantly it’s established in the blurb that this is not a religious tale, the angels instead being led by “planetary alignments”.
A story of angels is not something I’ve quite come across in comics before – save of course for Preacher, which is an entirely different sort of story! – and it strikes me as one that will have mass appeal. Angels in Young Adult fiction were rather overdone a couple of years ago, but the focus was always on the tragic suffocating love story rather than the sci-fi and fantasy aspects that the idea is surely ripe for.
The art is stunning with fully painted pages and excellent character design. The Kickstarter video makes it clear just how much work has already been done on this project in terms of design and planning, and this video is, I think, also key to the popularity of the project (go watch it now!). As is a rather clever pledge feature – a ticket to the exclusive launch signing in London. The higher tier pledges also offer fans a chance to appear in the comic themselves.
Obhrai and Gyllblad are clearly ambitious with this just the first volume of many, and future plans to turn Elysia into an animated TV series and computer game.
The Kickstarter campaign is for the 300 page Volume 1, split into three chapters of 100 full colour pages with the first scheduled for release in September 2013.Display Comments Add a Comment
In Dredd’s long and illustrious career we’ve seen many a female Judge stepping up to the plate, from Anderson to McGruder, but the iconic British strip has never been written by a woman. Until now.
2000 AD, a sci-fi anthology that has run continuously since 1977, has enjoyed a reputation for creating fantastic women characters (Halo Jones!) in the various strips that focus on personality first, and gender last. Judge Anderson is perhaps the most well known example, and her portrayal in the 2012 film Dredd by Olivia Thirlby cemented that wonderfully by showing her as Dredd’s equal in every respect – including costume. In fact that very under-appreciated film is one of the strongest comic book movies of all time in terms of gender politics, carried out in a very “no big deal” manner.
It’s little wonder then that women make up a significant sector of the 2000 AD readership, and yet despite both the wealth of women characters in the book, and the number of women creators in the UK, it’s also long held a reputation as being a boys club when it comes to writers and artists.
You can imagine my delight then in our roundtable review of Prog 1824 last month when I saw Emma Beeby’s name attached to a new strip, Survival Geeks. I first came across Beeby a couple of years ago at Glasgow Comic Con, and she is perhaps best known for her Doctor Who audio stories along with her co-writer both there and at 2000 AD, Gordon Rennie. Rennie of course has been writing great stories at 2000 AD for years, and is thrilled to be working with Beeby.
Not only is this the first time Judge Dredd has been written by a woman, but Suicide Watch also sees the introduction of the strips first ever Muslim Mega-City One Judge, Judge Hamida. It’s really refreshing to see a publisher stepping up to the plate in terms of diversity both on the page and behind it, and with a world of solid and well-rendered characters at 2000 AD, I hope it leads to the progs being read by an even wider audience.
As with all Judge Dredd strips, Suicide Watch is completely readable to newcomers while containing elements of previous storylines. The city is decimated since the Day of Chaos events with 87% of the population wiped out, and Suicide Watch looks at the psychological damage to the survivors as suicide cults become ever more popular in the desperate slums.
Something worse though is hunting in the shadows, something that Dredd can’t quite remember… Psi-Judge Hamida is on the case!
Suicide Watch will be told in three episodes, with the first appearing in Prog 1826 this very week.
Judge Dredd: Suicide Watch (Prog 1826-1828)
Writer: Gordon Rennie, Emma Beeby
Artist: Paul Davidson
Colourist: Chris Blythe
Letters: Annie Parkhouse
Editor: Tharg the Mighty, Matt Smith
Publisher: 2000 AD
As I suggested in my early con impressions, WonderCon had a reasonable amount of space and handled the numbers of attendees pretty well. It was no surprise that Saturday brought bigger numbers than Friday, and the crowding was more obvious, but still never reached that feeling of pushing and shoving that can easily erupt at crowded cons. The floor occasionally got backed up, particularly around the constantly slammed DC Comics booth, where big names like Scott Snyder appeared frequently for signings and the DC booth’s location, at the very front of the con entrance, contributed to some difficulty getting onto the floor. I noticed that the retail side of things was fairly busy, too, with some crowding and difficulty navigating, suggesting that plenty of fans were there to buy back issues and memorabilia, as well. The artists alley at WonderCon was a little on the scanty side in terms of size and numbers of tables, but those artists who were present were very engaging and passionate about their work. They seemed to have regular followers who were coming in to buy their artwork and there was a strong representation of the fine art side of fantasy prints and original work, as well as handmade arts and crafts.
Open areas like the food court and outside atrium were a welcome oasis, but it also continued to be easy to exit the con into the outdoor plaza areas for a rest and there was no difficulty with re-entry. Though the floor only allowed a couple of doors for access, the many exterior doors were open for comings and goings, with several food trucks outside, far enough from the entrance not to cause back ups. One other surprise was that Sunday seemed just as busy as Saturday, as I heard retailers commenting. They were turning over sales at just as high a rate that day. This feeling may be due to the fact that there were slightly fewer panels on Sunday, making the floor more of a feature, or simply that people waited to do their shopping on the floor on Sunday. When I stumbled into the Arena, a venue I hadn’t seen before, I was impressed with the numbers it could hold, and also that it was completely full for a Joss Whedon Shakespeare film adaptation event. This suggested to me that the con was handling numbers well, since I generally had no idea that so many people were even at the con on top of the numbers moving in the open spaces of the con. It was Easter Sunday the last day of the con, and it closed a little early, at 5PM, perhaps for this reason, but fans still had a sense that they would have been happy for the con to go on a little longer, a good sign regarding WonderCon’s appeal.
One final follow up: I suggested initially in my coverage that people might find WonderCon in Anaheim appealing due to Disneyland access, and that this would appeal to people will kids particularly. Though this turned out to be true, I also underestimated the appeal of Disneyland to singles and younger congoers. I went to Disneyland the following Monday and found that quite a number of WonderCon attendees were there too, from a younger demographic than I expected. You could tell from their conversations and generally less pastel clothing what guests were in town for the con, and I’d say about 1 in 10 were from the con in the massive crowds Disney drew on that post-Easter day.
Final thoughts: it was a well run and appealing con, offering plenty of choice in terms of panels, keeping up with what’s going on in comics and pop culture right now. Marvel were a little under represented, though Dan Slott was participating in panels, and several pros who were there for DC panels were formal Marvel people. Marvel didn’t have a booth on the floor, driving up the demand for DC variants and signings, which they happily accommodated. I was also impressed by the energetic presence of the mid-sized presses like Dark Horse, Archaia, Image, IDW, and ComiXology, for taking the opportunity to flourish and interact with fans when given a little more space to do so. The mid-sized presses really shone in their engagement with fans on the floor, their foresight in bringing new and upcoming books to purchase and get a sneak-peak at, and also through their involvement on panels. This gave the general impression that mid-sized presses are on the rise and taking on the role, collectively, as contenders for the Big Two. Good for them!
Whether WonderCon is in Anaheim again or back in San Francisco in the future, the planning and structure of the con should continue to hold up to make it a comfortable as well as enjoyable, exciting event for fans. This won’t be one of the cons where you have to sacrifice personal amenities just to see your favorite artists speak or get the variant your collection is calling for. They have a sense of putting the customer first at WonderCon and let’s hope that continues; it sets a good model for the growing con industry, and there are some bigger cons who could learn a thing or two from this.
Without further ado, some highlights of the con in photos from my trusty partner in crime Michele Brittany who proved her moxie as a pop culture photographer at WonderCon 2013 in spades. Thanks Michele!
Photo Credits: All photos in this article were taken by semi-professional photographer and pop culture scholar Michele Brittany. She’s an avid photographer of pop culture events. You can learn more about her photography and pop culture scholarship here.
Hannah Means-Shannon writes and blogs about comics for TRIP CITY and Sequart.org and is currently working on books about Neil Gaiman and Alan Moore for Sequart. She is @hannahmenzies on Twitter and hannahmenziesblog on WordPress.Display Comments Add a Comment
The annual MoCCA Arts Festival, presented by the Society of Illustrators and Museum of Comic & Cartoon Art, takes place this weekend (April 6 and 7) at the 69th Regiment Armory (68 Lexington Avenue in Manhattan). Tickets are $12 online or $15 at the door. I highly recommend the event; it’s a comic convention as it should be with a relaxed atmosphere and a focus on artists of all kinds (comic artists, illustrators and animators). The list of guests is solid as usual, and includes familiar names from the animation community such as Bill Plympton, Signe Baumane, Peter de Sève, Jules Feiffer, and JJ Sedelmaier. Many of the exhibitors hawking their wares also work in the local animation industry.Add a Comment
|Front Cover of Mister Orange|
|Victory Boogie Woogie by Piet Mondrian|
Oh what a difference running crazy amounts of miles in training makes. Come time for that post-race break those racing shorts…errrr, ‘shoes’ may be fitting a little differently!
Sunday morning deserves some running cartoonage! That being said, we can poke fun but one needn’t get TOO would up over some post-race ‘love’ weight, giving the body a chance to recover is incredibly important and your racing will be much better off in the long-term.
On the flip side there is a difference between recovery and gluttony…haha. As with most all things in running and in life, it’s all about balance. Now, pass this runner the Pop-Tarts!
POST on fueling for races.
POST with tips on runners eating out.
POST on the importance of the 30-minute refuel window.
POST on timing your fuel to best support your running performance.
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1) When it comes time to break after a race or season, do you eat differently?
2) What are some of the things you do to give your body some TLC to recover after hard races or between seasons?Add a Comment