Who will torture Jeff Smith with an adaptation of Bone next?

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§ Beautiful Art: At Sam Wolfe Connelly’s cover for Snape #2, by Big Bang

§ Hoo boy where to start. Despite my hope that Netflix still needs a recognizable IP address, as reported last week, they’ve already cleared their animation dev list, like reported in a “bloodbath” type story from The Wrap:

Phil Rynda, whose official title is Director of Creative Leadership and Development for Netflix Original Animation, was fired this week, along with several members of his staff, TheWrap can exclusively report and Netflix has confirmed.


According to several creators who spoke to TheWrap, Netflix Animation’s Kids & Family space has changed. Series that have enjoyed excellent word-of-mouth and critical acclaim are not renewed, and several high-profile projects have been unceremoniously canceled, including the long-delayed adaptation of the well-received comic book series. -loved by Jeff Smith “Bone” (first announced in 2019).

The cancellation of the long-simmering Bone adaptation of course sparked the most uproar – including a brilliant cartoon from the creator Jeff Smith himself:

SlashFilm has a great summary from Bone’s long and tangled history of adaptation attempts, which includes an appearance by Britney Spears in the Nickelodeon era.

Later, after the film rights expired and reverted to Smith, Warner Bros. took the ball back in 2008 to run with. Like the George Lucas and Peter Jackson sagas that inspired Smith for the big-screen version of his story, WB planned to make a trilogy of epic computer-animated “Bone” films. After some scripts were rejected, Patrick Sean Smith, the creator of ABC Family’s (now Freeform) “Greek” series, came on board as a writer in 2012, along with “My Best Friend’s Wedding” filmmaker. “PJ Hogan as director. The team returned to the drawing board in 2016 when screenwriter Adam Kline teamed up with “Kung Fu Panda” director Mark Osborne to give the project another good college tryout for Warner Animation Group before it sagged. erase again in the ether.

If you scroll some of the quote tweets from Smith’s tweet you’ll get plenty of expert analysis, including this one from Ruben Bolling:

It seems to me that Bone is by far the most obviously and enduringly popular IP that has yet to be adapted for film/TV (except maybe Calvin & Hobbes, which is not for sale).

I will put on my hopeful hat once more and declare that the Great Cow IP Race isn’t over yet, and I wouldn’t be surprised to see someone gift Smith another ball. There are sometimes happy outcomes with these types of cancellations – watch Nimona – although it was picked up by (shudder) Netflix, so hopefully it’s still a happy ending.

While The Fall of Netflix has sent Hollywood and the media itself into a state of utter inebriation, when the dust clears, I will stand by the belief that content will always be king.

§ But never fear, Smith is still busy with his “real work” of creating comics, with a second Tuki volume at the printers and the first book in its third printing.

No One Else by R. Kikuo Johnson - BOMB Magazine

§ R. Kikuo Johnson’s No one else won the LA Times Book Award of the best graphic novel. The other finalists were

  • Heaven Not Hell by Michael DeForge
  • Waiting by Keum Suk Gendry-Kim Translated by Janet Hong
  • Shadow Life by Hiromi Goto & Ann Xu (Illustrator)
  • Stone Fruit by Lee Lai

Tuca & Bertie

§ Speaking of rewards, it’s super late, but Lisa Hanawalt won a Writer’s Guild Award for an episode of Tuca and Bertie and it’s super cool!

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§ Former editor of Vertigo and Black Crown Shelly Bond teaches a course in comic book publishing, and I can’t imagine you won’t learn a lot from it. Register here.

§ The 440 Gallery in Brooklyn is holding a sequential art juried exhibition, with judges Dean Haspiel and Whitney Matheson. Apply here.

Galerie 440 announces a call for artists for the 2022 annual thematic exhibition Sequential synergy: the art of comics. Works selected to be exhibited for the show will be on display at our Brooklyn gallery from July 9 through July 29, 2022. Artists of all levels of professionalism and experience are invited to submit work in all mediums.

Sequential Synergy: The Art of Comics celebrates the diverse ways comic artists, aka cartoonists, use blank page real estate. For over a century, artists have been creating comics to tell stories about caped crusaders, historical figures, themselves or something else. Sequential Synergy will explore the forms comics can take and how they affect us; we will discover that cartoonists are not simply visual artists, but are writers, designers, directors and, above all, keen observers of human behavior.

Acceptable submissions include, but are not limited to, the following types of images: cover, cover pages, full page sequence illustrations. Submitted images may be taken from a larger work.

§ Forbes published its world billionaires survey, and Marvel Ike Perlmiutter is just the 576th richest person in America, with a net worth of $4.8 billion. That’s a bit down from 2021 — maybe he spent it on avocados.

§ Julie Doucet released its first graphic novel in decades last week, and made it a New York Times profile. And here is The Beat’s review of Time Zone J.

Montreal comic artist Julie Doucet began self-publishing her zine, Dirty Plotte, in 1987. Three years later, it became the cornerstone of influential Canadian comic book publisher Drawn & Quarterly. With his lack of inhibition and disdain for pat categorization, Plotte – the title is Quebec slang for vagina – became an inspiration to other comic book creators. “She has that kind of freedom in her work, writing about her experiences and things that seemed taboo,” said artist and cartoonist Jessica Campbell. “Rave,” Campbell’s queer coming-of-age comic, was made possible in part by permission she found in Doucet’s artwork.

§ Still in the Times, Liane Finck discussed his new version of Genesis, Let there be light, on their book podcast.

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§ David Roach wrote a wonderful obituary for the artist Garry Leaching for TCJ:

It is one of the quirks of an artistic vocation that a person’s entire career can be defined by a few key works, often created in their twenties or thirties, which for some reason resonated with of their audience. This was certainly the case with Garry Leach, who passed away in March of this year. His early work on Marvelman with Alan Moore in 1982 remains the tape he remembers best, especially outside of the UK. That’s perhaps not entirely surprising though, as few artists can have had such a varied, obscure, and sometimes frustrating career as Garry.

The room includes many breathtaking pieces of Leach’s art such as the ones above.

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§ One of the less noted aspects of the Zestworld exercise is that we now get the memories of the maestro, Jimmy Palmiotti. And it could be a bigger blockbuster than Grant Morrison. Like this memory of his very early work for something called Eternity Comics.

Anyway, I stop at this apartment house in a nice Italian neighborhood and at the window of the house is what looks like a row of severed heads – which I later found out to be were rubber masks filled with newspaper. The neighborhood grandmothers must have shit themselves walking past this place. A ringing of the bell and I’m greeted by Brian and shown around the place. From the outside, you would never expect inside to be desks, drafting tables, empty L&B garden pizza boxes, lots of sodas and beers and tons of bands widely used comics. You guessed it, the place was home to a ton of comedy artists and they were working all over the house. I was instantly struck.

§ Wonder Harbour, a popular comic book store in Edmonton, was recently destroyed by arson, and a Fundraising is in progress. The arsonist has not yet been apprehended.

Dear friends, Our beloved WonderHarbour was destroyed by arson. They spilled gasoline all over the store and lit a fire that consumed everything. Nothing is left. Luckily no one was hurt and Rufus is in good hands with the folks at Edmonton Reptile Rescue. Thank you for taking care of our little guy. The fire has been brought under control in the building and it looks like the building will survive, but all the hard work you saw the WonderHarbor team put into building Canada’s largest comic book store has been lost. We are devastated. It will be a long road and any help is appreciated. From the bottom of my heart, thank you for your outpouring of support and love.

§ Bill Kartalopoulos wrote a long recap of his trip from Angouleme 2022 with lots of photos and memories.

When I arrived in Angoulême on Thursday 17, the Festival was already well underway. The biggest news that was already circulating was that Julie Doucet had won the Festival prize grand prize price, announced Wednesday evening at the Hôtel de Ville. This year’s finalists were already notable as a group of three women, including Catherine Meurisse and Penelope Bagieu, and Doucet was only the third woman to win the Grand Prix. Doucet’s victory was, for me, a happy surprise, since the other finalists were, until now, better known in French culture. The prize was awarded following the publication by L’Association du Dirty ground collection Maxiplot, an elegant unique volume edited and designed by Jean-Christophe Menu, co-founder of L’Asso. Doucet was present at the Festival and seemed, each time I crossed her path, both upset and delighted. I am already looking forward to next year’s retrospective exhibition.

§ A statue of an athlete looked more like Robert Patrick as the Terminator, and Hilary followed suit. Because by God. we need more hilarity.

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