Big Planet Comics is the reader's choice for best comics this year in the City Paper.
Thursday, April 12, 2018
May 9: Steve Artley talk
An evening with award-winning editorial cartoonist Steve Artley
Event Information
About this Event
The pen is mightier than the sword, especially when it is in the hands of a skillful political cartoonist, such as Steve Artley. Based in Alexandria, VA, he skewers the foibles of the world with his bold and powerful strokes.
Artley's editorial work has appeared in The Washington Post, the New York Times, TIME Magazine, Newsweek and NPR's "Double Take," with his cartoons syndicated throughout the United States and Canada. Artley has twice earned the "Best Editorial Cartoonist of the Year" award from the Minneapolis New Association. Three years in a row, he won First Place in the Virginia Press Association News Contest. He is also a former board member of The Association of American Editorial Cartoonists. You can get a preview of his work at: http://artleytoonsonline.blogspot.com.
A highlight for the evening will be a drawing for an original cartoon, donated by the artist.
This program is co-sponsored by the D.C. chapter of the Society of Professional Journalists, the American Society of Journalists and Authors and our host, the Institute on Political Journalism.
For any questions, contact SPJ-DC board member Kathleen Burns at burnskathy1036@gmail.com.
Dirda on Edward Lear in The Post
A plump, Victorian gentleman who was so very pleasant to know [in print as Edward Lear, picturing a world of Jumblies and Pobbles].
Washington Post
Wednesday, April 11, 2018
Comic Riffs talks to Cathy
She's ba-AACK! 'Cathy' creator returns to humor writing with her first book of essays.
Andrew Looney of Looney Labs interviewed at Awesome Con
by Mike Rhode
And then we thought, “This licensing thing isn’t so bad. Let’s try it with something else.” One of the things I really wanted to do was a themed version of Chrononauts, a time-travel game I invented in 2000. We made an early American version in 2004 and after Monty Python, I thought a license I would like to do would be to apply Back to the Future to the Chrononauts mechanism. We had it out for a few years, but then we had to let the license go because we couldn’t meet Universal’s guarantees because we’re not that big a company and it didn’t do that well for us. That also was an experience… whereas [licensing] Monty Python was a dream, this was much more challenging. There was a giant corporation that had a lot more pushback on various things, and there was a lot of back and forth to make them satisfied. I walked away from that one saying, “Oh my god, let’s not do any more licenses.” So for years, we didn’t do licenses. We focused on things like Cthulhu and Wizard of Oz and Pirates, but finally we started to do licenses again. We got Batman and the Cartoon Network ones then, but we’ve now lost the Cartoon Network licenses. It’s a shame because everybody loves Rick and Morty now. We’ve still got Batman, Dr. Who, and Firefly and all of these have been hugely popular for us. This year we’re going to make Star Trek and ST: The Next Generation games.
MR: About the art – it’s varied over the games, but you have a high-level of art for a small game company. How do you find your artists?
MR: MacGuffin is a totally new game and not based on anything you’ve done before?
MR: I guess you can keep on going with educational games too…
AL: I’m typically not a punster, but sometimes you can’t resist. I try to have humor in various forms throughout my games. I’m all about the comedy. With a name like Looney, you either develop a sense of humor growing up and embrace it, or you become embittered and can’t wait to change your name when you turn 18 or get married. For me, I embrace it and love comedy, so puns are one of the forms of humor I try to infuse in the games and goals are one of the best places I have for that comedy. I always say the goals are where the jokes are. Sometimes the hardest part is trimming out the goals, because I have so many great ideas, but I can’t have too many in the game. Sometime a deck has goal bloat anyway because there’s just too many jokes and I want to put them all in.
Star Fluxx has goal bloat because I had just invented the goal mill, and the goal mill is such a useful card. Anytime a great new card comes along, I’ll start putting it into all versions I design after that, but I don’t usually like to retro-change the cards. Now the game cards have a new design without boilerplate and with a wraparound border, but older Fluxx games like Star, Monty Python, Zombie … they still have the old design and probably never will be updated. There is a heritage there that I like to be able to see – how the patterns and designs have changed and evolved.
Andy Looney, a co-founder of local games maker Looney Labs (along with his wife Kristen), was roaming the board games floor in a white lab coat as soon as the Con opened, handing people a special promo card from his company’s new game in exchange for a fist bump. When I mentioned that we had talked about an interview at a previous Awesome Con, he immediately offered to sit down and talk. Looney Labs sells games that he has designed, with Fluxx being its best known game. Fluxx is a card game with two basic rules – draw a card and play a card – and then a host of other cards modify those rules. The game has many versions including licensed ones of animation shows such as Batman Adventures and Cartoon Network properties.
Mike Rhode: How long have you been in business?
Andy Looney: Twenty years. We started in the late 90s. I invented Fluxx on July 24th, 1996. We started a company to sell it a little after I invented it. We’ve been based in College Park, MD the whole time.
MR: When you decide to expand the Fluxx game into all the variants?
AL: After a few years. We ran with the basic game for a while, and oddly enough the very first themed version was Stoner Fluxx. That was the very first one that suggested itself. It’s very common thing to say, “Hey, what if you took this game and made it a drinking game?” or in this case, a marijuana toking game.Since I’m not much of a drinker, this is the one we made. But also, we were really starting to get active with the legalization movement in those days, and when we first conceived it we thought of it as a fundraising thing. We were calling it NORML Fluxx.
We even pitched it to them. I remember an awkward meeting in their offices downtown where they essentially said, “What? No, we don’t want to do that. Sorry.” So we just made a generic Stoner Fluxx. That was the first one we printed, but things really took off with the themed versions with Zombie Fluxx in 2008.
MR: For the earlier years, you produced games that you didn’t have to license?
AL: Yeah. That was always the watchword: “No licenses.” Then Monty Python approached us, through a company named Toy Vault, that made Monty Python things. They wanted to do Monty Python Fluxx and contacted us about doing it and I said, “Sounds great, except I want to design and sell it, and we’ll kick you back [a commission] for making it happen. It’s a great idea.” It was great. They were so easy to work with and it sold well. It continues to be one of our hottest sellers, even though the license is just this vintage, old license. People still love Monty Python and it still does real well.
And then we thought, “This licensing thing isn’t so bad. Let’s try it with something else.” One of the things I really wanted to do was a themed version of Chrononauts, a time-travel game I invented in 2000. We made an early American version in 2004 and after Monty Python, I thought a license I would like to do would be to apply Back to the Future to the Chrononauts mechanism. We had it out for a few years, but then we had to let the license go because we couldn’t meet Universal’s guarantees because we’re not that big a company and it didn’t do that well for us. That also was an experience… whereas [licensing] Monty Python was a dream, this was much more challenging. There was a giant corporation that had a lot more pushback on various things, and there was a lot of back and forth to make them satisfied. I walked away from that one saying, “Oh my god, let’s not do any more licenses.” So for years, we didn’t do licenses. We focused on things like Cthulhu and Wizard of Oz and Pirates, but finally we started to do licenses again. We got Batman and the Cartoon Network ones then, but we’ve now lost the Cartoon Network licenses. It’s a shame because everybody loves Rick and Morty now. We’ve still got Batman, Dr. Who, and Firefly and all of these have been hugely popular for us. This year we’re going to make Star Trek and ST: The Next Generation games.
MR: About the art – it’s varied over the games, but you have a high-level of art for a small game company. How do you find your artists?
AL: A lot of our games were done by one guy, Derek Ring of Boston. He’s our go-to artist. He’s done more art for Fluxx than any other artist. When we did Zombie Fluxx, we started working with a packaging and marketing design company. We wanted our packaging to look better so we hired a local company called Tim Kenney Marketing and he helped us update our branding and packaging. He was the one who connected us to Derek Ring. Afterwards, we wanted to keep working with Derek for our other games because he’d been such a great illustrator. He’s great.
Sometimes we use a friend of a friend, such as on Stoner Fluxx, and some art is done in-house. The art for Get the MacGuffin, our brand new game, is a long-time friend named Alex Bradley.
MR: MacGuffin is a totally new game and not based on anything you’ve done before?
AL: A totally new game. I’m real excited about it. There’s a thing called the MacGuffin that everyone is trying to get, because it’s a win-the-game card. If you have it, you’re likely to win, but the object of the game is to have the last card. If you’re out of cards, you’re out of the game. It’s an elimination game, but it’s always fast. You only have five cards or less depending on how many players are in the game. You have to make them last as long as you can. The MacGuffin is great because you can infinitely discard it and pick it up again instead of throwing away so it lasts forever. People try to steal it from you, or try to destroy it, but ultimately what matters is that you have the last card.
MR: Do you want to keep expanding the Fluxx line?
AL: I have so many other Fluxxes in my design library that I could make a Fluxx out of just about anything at this point. We’re doing more educational ones. I have a space one, not to be confused the science fiction Star Fluxx, that will be the solar system and space missions. I expect it next year or the year after.
MR: The educational games are successful?
AL: Yes, we’re bringing out Anatomy Fluxx this year because Math and Chemistry proved so popular. We made those because we had a little convention of our fans a couple of years ago, and I put out every different version of Fluxx prototypes I had. At the time, I had as many unpublished prototypes as we had print games. I put them all on the table and said, “Try these out all weekend and vote for the ones you want to have published,” and Math and Chemistry were the vote leaders, so I thought “I guess we need to make these,” and they’ve proven popular enough that Anatomy was next.
AL: I’ve thought about dinosaurs. I definitely think a dinosaur Fluxx is one I’d do at some point, but I’m having a hard time deciding how to pair the cards off. It seems on one hand perfect – put a T Rex on a card, and ‘boom’ but on the other hand, how I match them up for the goals is the hard part.
MR: I’ve noticed a certain fondness for puns in your goals…
MR: I’ve noticed a certain fondness for puns in your goals…
Star Fluxx has goal bloat because I had just invented the goal mill, and the goal mill is such a useful card. Anytime a great new card comes along, I’ll start putting it into all versions I design after that, but I don’t usually like to retro-change the cards. Now the game cards have a new design without boilerplate and with a wraparound border, but older Fluxx games like Star, Monty Python, Zombie … they still have the old design and probably never will be updated. There is a heritage there that I like to be able to see – how the patterns and designs have changed and evolved.
MR: How many people work in Looney Labs?
AL: Around 8. It’s only 7 at the moment due to a recent departure. We’re small compared to a lot of game companies.
We’ve got a couple more games coming out. Mary Engelbreit, a noted illustrator, is someone we’re making three products with – one that I can’t talk about, a version of Loonacy, and Fairy Tale Fluxx that she’ll be doing all the illustrations for. We’re taking art out of her story books for Fluxx, and doing new art if necessary.
MR: How did you end up working with her?
AL: We just reached out. Our new business person noted that Mary Engelbreit is very popular in markets we’re trying to reach such as more mainstream markets. We’re looking at ways of getting our products into markets where we aren’t usually seen like gift stores and greeting cards shops that already sell a lot of her products will hopefully pick these up based on her name. And that gets the foot in the door for selling Fluxx to a whole new group of people. I’m pretty excited about Space Fluxx which has black cards and NASA pictures.
MR: Speaking of new markets, for a while Target had an exclusive type of Fluxx…?
AL: We made a special edition of Fluxx for Target that was a little bit different, and was a little cheaper. When we working with Cartoon Network, we did a mashup for Target, and standalone Adventure Time and Regular Show versions for the hobby market. We also made Monster Fluxx that way. It was exclusive to Target for a while, but for us it’s been about trying to have a version of our product that is a little bit cheaper, a little bit different from the hobby store version, that we can sell in grocery stores, drug stores and places that have a little games area.
MR: Is that working for you?
AL: Yeah. It’s our secondary line. Monster Fluxx gives a sense of Zombie or Cthulhu, but in a lighter weight version with no Creepers. It’s the easy version of the game.
MR: Finally, will we see any more Chrononauts games?
AL: Everyone’s always asking about that. It’s hard. Timeline design is so challenging. It’s not like anything’s been happening in the news of note. [laughs] I’m always looking at the news, thinking, “Is this an event [that could change a timeline]?” Also there’s other areas of history that I think about, like a New World Chrononauts from pre-discovery America, or a future timeline imagining a bunch of big events… these are really challenging jobs. I’d like to update the basic game beyond The Gore Years expansion, but that’ll probably take a few years. I’m actively trying to work on a new game these days though.
April 11: Steve Orlando at Third Eye Comics
at THIRD EYE ANNAPOLIS
Click here for the event info on FACEBOOK
Signing from 6pm-8pm
Hello Third Eye Faithful!
We know a ton of you were excited to meet Steve Orlando at our Milk Wars signing, but couldn't make it out to that one back in February, BUT we were lucky enough to have Steve fit us into his schedule to make a return visit to launch his new IMAGE series CRUDE!
We loved the debut issue of this one, and as big fans of Steve's past work, we're pretty pumped to have him back at the shop to kick off his latest and greatest!
Swing by tonight at Third Eye Annapolis, and get your books signed by Steve, and check out his newest release, CRUDE #1!
New on ReDistrictedComics.com: 'The Queen of Q Street'
A new story on ReDistrictedComics.com --"The Queen of Q Street" by Cynthia Tenicela and Matt Dembicki.
Tuesday, April 10, 2018
Animation voice actor Chuck McCann obituary in The Post
Chuck McCann, voice actor who hosted 1960s children's TV shows, dies at 83 [in print as Chuck McCann, 83; Comic, voice actor, host of children's TV show].
Washington Post
Monday, April 09, 2018
Editorial cartooning on ComicsDC: An Editorial
by Mike Rhode
It occurs to me that some readers might be wondering about the fact that we now have three editorial cartoonists appearing regularly here - Mike Flugennock, Bill Brown and Steve Artley.
Steve Artley (a long-time member of the blog) is working through his archive of drawings with a long-term eye to donating them to a library, so I suggested that he share them with us as he scans them for his file.
William "Bill" Brown's work appeared in the Takoma Voice newspaper for years, and with the loss of that venue, he's publishing his work here at the moment. He's best known for his President Bill (later Citizen Bill) strips which have run for years.
Flugennock's Latest'n'Greatest: Yaser Murtaja, Presente!
From Washington's anarchist cartoonist, Mike Flugennock:
Yaser Murtaja, Presente!
http://sinkers.org/stage/?p=2456
In memory and solidarity with Yaser Murtaja, the Palestinian photojournalist murdered by the IDF at the Gaza Land Day protests last week.
Yaser Murtaja, Presente!
http://sinkers.org/stage/?p=24
In memory and solidarity with Yaser Murtaja, the Palestinian photojournalist murdered by the IDF at the Gaza Land Day protests last week.
Elena Millie, poster curator of the Library of Congress, died last fall
ELENA MILLIE
Published in The Washington Post on Nov. 23, 2017
http://www.legacy.com/obituaries/washingtonpost/obituary.aspx?n=elena-millie&pid=187321446
ELENA G. MILLIE
Library of Congress
ELENA G. MILLIE
Library of Congress
Curator and Art Historian
After a long life filled with love, laughter, friendship and adventures Elena left this life peacefully on November 12, 2017. Elena, known as "Auntie Lane" to her family and "Speedy" to her friends, touched many lives with her wisdom, caring, laughter and compassion. She was adored and loved by all who knew her. Born in Greenwich CT, she attended Greenwich Country Day, Emma Willard and graduated from the University of North Carolina with a degree in Art History. She had a long career as an accomplished art historian, starting at the National Gallery of Art moving to the Library of Congress to serve as a Curator in the Poster and Prints Division for more than 3 decades. She collaborated, commentated, forwarded, authored and curated many exhibitions, collections, books and papers including Nagel: The Art of Patrick Nagel, The Polish Poster and Eyes of the Nation. An active member of many organizations, including 6th Church of Christ Scientist, Sulgrave Club, Evermay, Friends of Stratford Hall, Washington Studies Group, DAR, D.C. Society of Colonial Dames, Evergreen Garden Club and many more, she was beloved by many. In addition to a robust career and active life of service Elena was an avid gardener, reader, world traveler, art expert and wonderful friend to all. She is survived by her sister Lee G. Day, brother Julian C. Gonzalez and devoted nieces and nephews Jonathan, Neva and Julia Day; and Kelemn and Makenna Taylor-Gonzalez. One of her dearest friends sums her up best "a day spent with Elena was a good day". She will be sadly missed and joyfully remembered. A private family service will be held. In lieu of flowers, a donation can be made in her name to Lynn House of Potomac Valley.
The Post on the death of Studio Ghibli's Takahata
Isao Takahata, poignant Japanese director who co-founded Studio Ghibli, dies at 82 [in print as Isao Takahata, 82; co-founded Studio Ghibli]
Washington Post
Sunday, April 08, 2018
National Gallery of Art to host cartooning exhibit
- Thanks to Bruce Guthrie for the tip.
- Sense of Humor
- July 15, 2018 – January 6, 2019
- Location TBA
- https://www.nga.gov/exhibitions/2018/sense-of-humor.html
James Gillray, Midas, Transmuting All into Paper, 1797, etching with hand-coloring in watercolor on laid paper, Wright and Evans 1851, no. 168, National Gallery of Art, Washington, Purchased as an Anonymous Gift
Humor may be fundamental to human experience, but its expression in painting and sculpture has been limited. Instead, prints, as the most widely distributed medium, and drawings, as the most private, have been the natural vehicles for comic content. Drawn from the National Gallery of Art's collection, Sense of Humor celebrates this incredibly rich though easily overlooked tradition through works including Renaissance caricatures, biting English satires, and 20th-century comics. The exhibition includes major works by Pieter Brueghel the Elder, Jacques Callot, William Hogarth, James Gillray, Francisco Goya, and Honoré Daumier, as well as later examples by Art Spiegelman, Richard Hamilton, Andy Warhol, John Baldessari, and the Guerrilla Girls.
The exhibition is curated by Jonathan Bober, Andrew W. Mellon senior curator of prints and drawings; Judith Brodie, curator and head of the department of American and modern prints and drawings; and Stacey Sell, associate curator, department of old master drawings, all National Gallery of Art, Washington.
Organization: Organized by the National Gallery of Art, Washington
Passes: Admission is always free and passes are not required
Comics Riffs on the unanticipated return of Nancy
For the first time in her 85 years, 'Nancy' will be drawn by a woman
Washington Post Comic Riffs blog
The Post's John Kelly on Thurber in Falls Church
Why is there a street in Falls Church, Va., named after James Thurber? [in print as Where James Thurber lost an eye and got a style]
Saturday, April 07, 2018
Comics-related exhibit reviewed in The Post
In the galleries: Comic book artists show new dimensions
That darn Rhymes with Orange
The letter writer completely misses the tragedy of the sarcasm here.
Media, mixed signals and gun violence [in print as Mixed messages about gun violence].
Letters to the Editor
Opinion
Media, mixed signals and gun violence [in print as Mixed messages about gun violence].
Joedy Cambridge, Arlington
Washington Post April 7 2018
Comics in new issue of Johns Hopkins Magazine
The Spring 2018 issue of Johns Hopkins Magazine has a four-page cover story on medical student Jordan Tropf, which includes a panel of him running the Marine Corps Marathon in Washington, D.C. The story is credited to Greg Rienzi and art to Jon Adams. There is no contributors bio on them, which was provided for the other writers and illustrators in the print edition. In the online version, Adams is listed as having worked with Disney, Marvel and Lucasfilm.
WaPo reviews “Not Too High, Not Too Low” exhibit
Reviews / In the galleries: Comic book artists show new dimensions
Washington Post
“Not Too High, Not Too Low” invites six of them to explore different forms.
Washington Post
“Not Too High, Not Too Low” invites six of them to explore different forms.
Friday, April 06, 2018
Glen Weldon on Legion's return
'Legion,' Season 2: Welcome Back To The Weirdest Corner Of The Marvel Universe
https://www.npr.org/sections/monkeysee/2018/04/03/597795582/legion-season-2-welcome-back-to-the-weirdest-corner-of-the-marvel-universe
Subscribe to:
Posts (Atom)