Alex and Ada is Jonathan Luna and Sara Vaughn’s critically acclaimed 15-issue series about human interaction with A.I. It raises some interesting issues, but does it handle them well? Have the same ideas been explored better elsewhere? Tim and Kumar open up the machine and take a look.
Two interviews this week:
|First, Luke Lancaster and Orlando Caicedo on their comic “The Badguys.” How did they got together (without actually getting together) and get their comic into Webtoons? And, are Webtoons actually comics?|
|Then, UK-based artist and writer Sally Jane Thompson, author of the graphic novel “Atomic Sheep”, explains why a creator with South African and Canadian roots sees the UK as a better place to be, how comics can be used in conjunction with an art exhibit, and more.|
If you’re listening to this podcast, you’ve probably at some point encountered (if not read) a history of DC or Marvel. But how about Harvey Comics? or Cracked Magazine? And if you’re into animation, perhaps you’d like a history of DePatie-Freling or Total Television Productions?
Comics and animation historian Mark Arnold has been compiling info on these companies and more. He also discusses Joe Edwards’ Li’l Jinx strip, that time when Blondie had a comic book, why Wonderful World of Disney seldom showed cartoons, and the storage challenges inherent in his chosen profession!
Charles Schulz’s Peanuts is one of the most beloved comic strips of the 20th century. But while some prefer the hilariously cruel and despairing tone of the first half of the series, it seems that the public perception of Peanuts is more in line with the cute, commercial tone it took on in its second 25 years.
This week Tim and Kumar come back to Peanuts, more than seven years after reviewing the Schulz bio, to delve more into the strip itself. What is the nature of the Peanuts kids? What motivates them? How does Peanuts (especially in its first half) fit an existentialist view of the world?
Also discussed: the recent movie — what was good or bad. Was showing the Little Red Haired Girl a good idea? Plus, a nod to a few of Schulz’s more interesting panel compositions, and, what Peanuts strip does Tim want on his wall?
- Peanuts on GoComics
- Charles Schulz on the necessity of loserdom (The Guardian)
- The bleak world of Peanuts, one of the 20th century’s greatest works of art, explained (Vox.com)
- Against Snoopy (New York Press)
- How Snoopy killed Peanuts (Kotaku.com)
- The Exemplary Narcissism of Snoopy (The Atlantic)
- Sartre and Peanuts (Philosophy Now)
- Review of Chip Kidd’s Only what’s necessary: Charles M. Schulz and the Art of Peanuts (Brainpickings.org)
- Why Charles M. Schulz gave Peanuts a black character (Flashbak.com)
- Selling out the newspaper strip (Schulz vs. Bill Watterson on commercialization) (L.A. Review of Books)
- It’s the Great Pumpkin, Charlie Brown is a Christmas special wearing a Halloween Costume (Vox.com)
- Why the Schulz family felt now was the right time for a Peanuts movie (The Telegraph)
- What kind of father was Charles Schulz? (Mashable.com)
The digital comics universe continues to expand. This week, Tim looks at two different platforms.
If you’re into American comics at all, you no doubt know of Comixology. Since we last talked to company co-founder John Roberts, Comixology has joined the Amazon family, and their integration is starting to become visible on both companies’ sites. John talks about this, the penetration of digital in the market, how to get your comics into Comixology, and more.
South Korean Web giant Naver started Webtoon in that country back in 2004, and since then its reach has grown in Asia and around the world — the English version is called Line Webtoon. We meet Webtoon content manager David Lee and New Mexico-based creator Stephen McCranie (whose Space Boy is available through Webtoon) to discuss the site’s reach and business model, the differences between making a comic for print and making one that the reader scrolls through, and how to get your comics into Webtoon.