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The Sebastopol, California, home that Charles Schulz used as his office and studio from the mid-1960s to the early 1970s is up for sale, for almost $4 million.
It looks like a beautiful, but small (one bedroom, which had been Schulz's studio) home, in a stunning setting. — Read the rest
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Before the Industrial Revolution, few had occasion to consider the impact of technology on their lives. A few decades in, however, certain segments of society thought about little else. That, in any case, is the impression given by the debate over what the English press of the early nineteenth century called the “March of Intellect,” a label for the apparently polarizing discourse that arose from not just the development of industrial technology but the dissemination of “useful knowledge” that followed in its wake. Was this sort of education an engine of progress, or simply of disorder?
The March of Intellect’s most vivid legacy consists of a series of newspaper cartoons published in the eighteen-twenties. They depict a world, as Hunter Dukes writes at the Public Domain Review, where “extravagantly dressed ladies window-shop for pastel finery and forgo stairwells in favor of belt-driven slides” while “a child is moments away from being paved into the road by a carriage at full gallop”; where “men gorge themselves on pineapples and guzzle bottles at the Champagne Depot” and “postmen flit around with winged capes”; where “even convicts have it better: they embark for New South Wales on a gargoyle zeppelin, but still have panoramic views.”
So far, so Victorian. One could argue more or less in favor of the world described above, as rendered by artist William Heath. But in the future as envisioned in the cartoon at the top of the post by Robert Seymour (now best known as the original illustrator of Charles Dickens’ The Pickwick Papers), the March of Intellect takes on a flamboyantly malign aspect.
In it “a jolly automaton stomps across society,” writes Dukes. “Its head is a literal stack of knowledge — tomes of history, philosophy, and mechanic manuals power two gas-lantern eyes. It wears secular London University as a crown.” It sweeps away “pleas, pleadings, delayed parliamentary bills, and obsolete laws. Vicars, rectors, and quack doctors are turned on their heads.”
Nearly two centuries later, most would side instinctively with the participants in the March of Intellect debate who saw the provision of technical and scientific knowledge to then-less-educated groups — women, children, the working class — as an unambiguous good. Yet we may also feel trepidation about the technologies emerging in our own time, when, to name a current example, “artificially intelligent chatbots have fueled ongoing anxieties about the mechanization of intellectual labor.” Every day brings new apocalyptic speculations about the rise of powerful thinking machines running roughshod over humanity. If no artist today is illustrating them quite so entertainingly as Heath and Seymour did, so much the worse for our time.
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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
In March 1993, Image Comics published a radical new book called The Maxx from writer/artist Sam Kieth, co-written by William Messner-Loebs. This dark, psychedelic, psychological superhero dark fantasy was such a hit that it was almost immediately adapted into an MTV cartoon series that ended up being produced concurrently with the comic. — Read the rest
Amazon has reportedly picked up Batman: Caped Crusader, the animated series Warner Bros. developed for HBO Max but scrapped last August to cut costs. Despite also drawing interest from Netflix, Apple and Hulu, the upcoming show will have a home on Amazon Prime.
First announced in May 2021, Batman: Caped Crusader sounds like a spiritual successor to Batman: The Animated Series, the beloved 1990s weekday afternoon staple. The upcoming show was created by executive producers JJ Abrams, Matt Reeves and Batman: The Animated Series developer Bruce Timm. In addition, celebrated comic-book writer Ed Brubaker is on the creative team for the 10-episode first season.
The Amazon sale was part of Warner Bros. Discovery’s plans to monetize content by selling it to third parties. The studio will now focus on the Batman IP as part of a 10-year DC Comics meta-story spanning film, TV, gaming and animated series. In addition, a sequel to Reeves’s 2022 film The Batman and spin-off series The Penguin on HBO Max are in the works.
“We are beyond excited to be working together to bring this character back, to tell engrossing new stories in Gotham City,” Abrams and Reeves said when Batman: Caped Crusader was announced. “The series will be thrilling, cinematic and evocative of Batman’s noir roots, while diving deeper into the psychology of these iconic characters. We cannot wait to share this new world.”
This article originally appeared on Engadget at https://www.engadget.com/amazon-scoops-up-batman-caped-crusader-after-hbo-max-cancellation-215511679.html?src=rss
Batman: Caped Crusader
Promotional artwork for the series ‘Batman: Caped Crusader,’ featuring Batman scowling in a dark and moody nighttime scene with the moon behind him.
Brian Michael Bendis is one of the biggest names in comic books, having launched the original Ultimate Spider-Man run back in 2000, as well as revitalizing the Avengers franchise for the new millennium. Prior to that, Bendis had made his mark writing and illustrating crime comics. — Read the rest
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The Suicide Squad is the embodiment of the phrase, "every dog has its day." Although never unpopular, calling the Suicide Squad comic a runaway success would be disingenuous. The title always boasted a loyal fanbase and periods of peak interest, but the Suicide Squad could never consistently topple the titans of the comic book industry. — Read the rest
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This is is a multilingual comic that serves as a meditation on the infrastructures of COVID-19, care, and time. In the spirit of the multilingual spaces I inhabit in Tio’tia:ke/Mooninyaang/Montréal, I have chosen to write bilingually—a process that can be messy, but that speaks to my experiences of COVID-19 locally as I am thinking of COVID-19 globally.
This refusal to separate my experiences into two linguistic boxes is an experiment in thinking about both the process and products of creation through the form of comics, an art form popular in Québec, where I lived during the start of the pandemic (and still live, at the time of this writing).
A note on translation: In panel 6, I have used “vie valide” (FR) as “abled life” (EN). This is meant to emphasize the language in the source material, which emphasizes both hypocrisy and violence of ableist and eugenicist approaches to a pandemic, and also serves as a power of refusal. As someone who is disabled but who is not francophone, I welcome conversations about this language over Twitter or over email (see profile).
Il s’agit d’une bande dessinée multilingue qui sert de méditation sur les infrastructures de COVID-19, les soins et le temps. Dans l’esprit des espaces multilingues que j’habite à Tio’tia:ke/Mooninyaang/Montréal, j’ai choisi d’écrire de manière bilingue – un processus qui peut être quelque peu compliqué, mais qui parle de mes expériences de COVID-19 au niveau local tout en pensant à COVID-19 au niveau mondial.
Ce refus de séparer mes expériences en deux boîtes linguistiques est une expérience de réflexion sur le processus et les produits de la création, en utilisant la forme de la bande dessinée, une forme d’art populaire au Québec, où je vivais au début de la pandémie (et où je vis toujours, au moment d’écrire ces lignes).
Une note sur la traduction : Dans le panneau 6, j’ai utilisé “vie valide” (FR) comme “abled life” (EN). Ceci a pour but de mettre l’accent sur le langage du matériel source, qui souligne à la fois l’hypocrisie et la violence des approches “ableistes” et eugénistes d’une pandémie, et sert également de pouvoir de refus. En tant que personne handicapée mais non francophone, je suis heureux de discuter de ce langage sur Twitter ou par e-mail (voir profil).
(note: the comic uses a dark brown, light brown, and blue color palette and appears to be drawn on a textured background)
(note : la bande dessinée utilise une palette de couleurs marron foncé, marron clair et bleu et semble être dessinée sur un arrière-plan texturé)
Panel 1: A comic spread with text that reads/Une bande dessinée avec un texte qui dit: “I don’t remember the first day I noticed COVID-19 infrastructure in Québec .” “Je ne me souviens pas du premier jour où j’ai remarqué l’infrastructure COVID-19 au Québec.”
“Stickers on the floor to tell us where to stand, lines on the floor to tell us how to queue.” “Des autocollants au sol pour nous dire où nous tenir, des lignes au sol pour nous dire comment faire la queue.”
In the background, there is a light and dark brown illustration of two stickers with footprints and “2m” written on them. / En arrière-plan, il y a une illustration marron clair et marron foncé de deux autocollants avec des empreintes de pieds et “2m” écrit dessus.
Panel 2: The text reads/Un texte qui dit: “There is a phrase, translated from Italian*, that describes hope in a post-COVID-19 future:” “Il y a une phrase qui a été traduite de l’italien* et qui décrit l’espoir dans un futur post-COVID-19 :”
Below, there are signs that read / En dessous, il y a des panneaux qui disent: “Tout ira mieux” (Belgium/Belgique), “tout ira bien” (France/France), “Everything will be OK!” (US, New Zealand, États-Unis, Nouvelle Zélande)
“*« andrà tutto bene »”
Panel 3: The text reads / Un texte qui dit: “In Montréal, the phrase written by children and taped to windows, printed on stickers and put on shop doors, and placed beneath a rainbow was « ça va bien aller »”
“À Montréal, la phrase écrite par les enfants et collée aux fenêtres, imprimée sur des autocollants et collée sur les portes des magasins, et placée sous un arc-en-ciel était « ça va bien aller »”
In the frame next to it is a drawing of a rainbow in brown, white, and blue, taped to something. It reads ça va bien aller. / Dans le cadre à côté, il y a un dessin d’un arc-en-ciel en marron, blanc et bleu, collé à quelque chose. On peut lire “ça va bien aller”.
Panel 4: The text reads / Un texte qui dit: “People with different kinds of relationships to labour, different identities, and different incomes have had different experiences under COVID-19 (and capitalism). Race, immigration status, class, and more shape how COVID-19 has been felt by people around the world.”
“Des personnes ayant des relations différentes avec le travail, des identités differentes et des revenus différents ont vecu des expériences différentes dans le cadre de COVID-19 (et du capitalisme).”
“La race, le statut au regard de la législation sur l’immigration, la classe sociale et d’autres factures façonnent la manière dont le COVID-19 a étè ressenti par les gens du monde entier.”
Next to the text is an image of a healthcare worker (who appears to be not white) in blue, wearing gloves, wearing a mask, and with hair tied up. À côté du texte se trouve l’image d’un.e travailleur.se de la santé (qui semble ne pas être blanc.he) en bleu, portant des gants, un masque et les cheveux attachés.
Panel 5: There are two panels, with text around them and images inside. Il y a deux panneaux, avec du texte autour et des images à l’intérieur.
On the left, the text around the panel reads / À gauche, le texte autour du panneau dit: “Capital shapes not only our relationship to labour, but also our relationship to health (and who gets heathcare).”
On the right, the text around the panel reads / À droit, le texte autour du panneau dit: “Le capital façonne non seulement notre rélatuion au travail, mais également notre relation à la santé (et qui reçoit des soins de santé)” Under, it reads: (Adler-Bolton and Vierkant 2022)
On the left, there is a drawing of a white deliveryperson who is pushing a trolley with a number of packages on it, including / À gauche, le dessin d’un livreur blanc qui pousse un chariot sur lequel se trouvent plusieurs colis, dont “HIGH RISK LOW PAY,” “MASKS,” “N95,” “FREE? TESTS.” Below, it reads / En dessous, on peut lire: “The surplus, or surplus populations, can therefore be defined as a collective of those who fall outside of the normative principles for which state policies are designed, as well as those who are excluded from the attendant entitlements of capital.”
On the right, there is a drawing of two white people. The person on the left is white, has shoulder-length hair, is wearing glasses, and is named as “Beatrice Adler-Bolton.” The person on the right is white, is wearing less tinted glasses, has a beard, and short hair, and is named as “Artie Vierkant.” / À droite, il y a le dessin de deux personnes blanches. La personne de gauche est blanche, a les cheveux longs, porte des lunettes et s’appelle “Beatrice Adler-Bolton”. La personne à droite est blanche, porte des lunettes moins teintées, a une barbe et des cheveux courts, et s’appelle “Artie Vierkant”.
Below, it reads / En dessous, on peut lire: “Le surplus, ou les populations excédentaires, peuvent donc être définis comme un collectif de ceux ne relèvent pas des principes normatifs pour lesquels les politiques de l’État sont conçues, ainsi que de ceux qui sont exclus des droits afférents au capital.”
Panel 6: There are two panels, with text around both. On the left, it reads / Il y a deux panneaux, avec du texte autour des deux. À gauche, on peut lire: “Disability justice organizer Mia Mingus reminds us that political refusals cost disabled lives.” Inside the square is a skeleton in brown ground, with some grass. A l’intérieur du panneau se trouve un squelette dans un sol brun, avec un peu d’herbe.
Inside the right panel, the text reads / À l’intérieur du panneau droit, le texte dit: “We will not trade disabled deaths for abled life. We will not allow disabled people to be disposable or the necessary collateral damage for the status quo.” “Nous n’échangerons pas les décès d’handicapés contre une vie valide.” The right panel has a drawing of an IV hanger. Le panneau de droite présente le dessin d’un support de perfusion.
Panel 7: A spread with three panels. Two on either side have drawings of masks on the ground, with leaves and dirt. Below the left, it reads, “Que se passe-t-il lorsque les infrastructures de soins collectifs son mises au rebut, jetées au nom du “choix” individuel ?” / Une page avec trois panneaux. Deux de chaque côté ont des dessins de masques sur le sol, avec des feuilles et de la terre. En bas à gauche, on peut lire, “Que se passe-t-il lorsque les infrastructures de soins collectifs son mises au rebut, jetées au nom du “choix” individuel ?”
In the middle panel, the text reads / Dans le panneau du milieu, le texte se lit comme suit: “We will not look away from the mass illness and death that surrounds us or from a state machine that is more committed to churning out profit and privileged comfort with eugenic abandonment.” “Nous ne détournerons pas les yeux de la maladie et de la morte de masse qui nous entournent ou d’une machine d’État qui east plus déterminée à générer des profits et un confort privilégié avec un abandon eugénique.”
On the right, it reads / À droit, le texte dit: “What happens when collective care infrastructures are discarded, thrown away in the name of individual “choice”?”
Panel 8: A spread of two panels. On the left, around the panel, the text reads, “What happens when COVID-19 is still here, but the infrastructure is being torn down?” Inside, is a drawing of a sign that reads “Couvre visage obligatoire / Masks required” taped to a door. / Deux panneaux. À gauche, autour du panneau, le texte a dit : “What happens when COVID-19 is still here, but the infrastructure is being torn down?” À l’intérieur, le dessin d’un panneau indiquant “Couvre visage obligatoire / Masks required” collé sur une porte.
On the right, around the panel, it reads / A droite, autour du panneau, le texte a dit: “Que se passe-t-il lorsque le COVID1-9 est toujours là, mais que l’infrastructure est en train d’être démolie ?” Inside the panel is a drawing of the tape on the door with part of the sign still remaining, but most is missing. / À l’intérieur du panneau se trouve un dessin du ruban adhésif sur la porte. Il reste une partie du panneau, mais la majeure partie est manquante.
Panel 9: Two panels. On the left, it reads (Silverstein and Lincoln 2022). / Deux panneaux. À gauche, on peut lire (Silverstein et Lincoln 2022).
On the left around the panel, it reads / À gauche, autour du panneau, on peut lire: “Broken pandemic infrastructures were not the “ça va” many of us hoped for.” Inside the panel, it reads / À l’intérieur du panneau, le texte dit : “How did the united States end up desensitized to mass death and disability, angrily opposed to almost all means of mitigating an occasionally fatal airborne virus, and willing to accept so little from the powerful?” “Comment les États-Unis ont-ils fini par êtr désensibilisés à la mort et à l’incapacité de masse, opposés avec colère à presque tous les moyens d’atténuer un virus aérien parfois mortel, et prêts à accepter si peu des puissants?”
Around the right panel, it says / Autour du panneau de droite, le texte a dit: “Infrastructures pandémiques brisées n’ont pas été les “ça va” que beaucoup d’entre nous avaient éspérées.” Inside the panel is a drawing of two people. On the left, is a drawing of a white person with glasses and brown hair, who is named Martha Lincoln. Below, is a drawing of a white person with brown hair and a beard named Jason Silverstein. / À l’intérieur du panneau se trouve le dessin de deux personnes. À gauche, le dessin d’une personne blanche avec des lunettes et des cheveux bruns, qui s’appelle Martha Lincoln. En dessous, se trouve le dessin d’une personne blanche aux cheveux bruns et à la barbe, nommée Jason Silverstein.
Panel 10: A panel spread that has a drawing of COVID-19 case estimates in brown (data via INSPQ), and a drawing of a lung with a brown trachea with blue lungs. Un panneau avec un dessin des estimations de cas COVID-19 en brun (données via INSPQ), et un dessin d’un poumon avec une trachée brune avec des poumons bleus.
The text reads / Le texte dit: “While state infrastructure remains broken, we still take care of each other…” “Alors que l’infrastructure de l’État reste brisée, nous prenons toujours soin les un.e.s des autres…”
Below, it reads / En dessous, le texte dit: “…through wave peaks and troughs.” “…à travers les pointes et creux des vagues.”
Panel 11: Two panels. / Deux panneaux.
On the left, around the box, it reads / À gauche, autour de la boîte, le texte dit: “We are not singular beings: we are social animals, and we depend on each other.” Inside (in light brown text on dark brown), it reads / À l’intérieur (en texte brun clair sur brun foncé), le texte a dit: “Interdependence acknowledges that our survival is bound up together, that we are interconnected and what you do impacts others. If this pandemic has done nothing else, it has illuminated how horrible our society is at valuing and practicing interdependence. Interdependence is the only way out of most of the most pressing issues we face today.” (Mingus 2022) is on the left / est à gauche.
Around the right panel it reads / Autour du panneau de droite, le texte a dit: “Nous ne sommes pas des êtres singuliers: nous sommes des animaux sociaux, et nous dépendons les un.e.s des autres.” Inside, it reads (in dark brown text on light brown) “L’interdépendance reconnaît que notre survie est liée, que nous sommes interconnectés et que ce que vous faites a un impact sur les autres. Si cette pandémie n’a rien fait d’autre, elle a mis en lumière à quel point notre société est horrible à valoriser et à pratiquer l’interdépendance. L’interdépendance est le seul moyen de sortir de la plupart des problèmes les plus urgents auxquels nous sommes confrontés aujourd’hui.”
Panel 12: A spread with text and images of the first panel’s stickers of feet and “2m,” but it is largely missing. Un panneau avec le texte et les images des autocollants de pieds et de “2m” du premier panneau, mais il est en grande partie absent.
The text reads / Le texte a dit: “COVID-19 infrastructure has begun to scuff, peel, and fade away. After a few years of pandemic life, I now realize: ” “L’infrastructure COVID-19 a commencé à s’érafler, às se décoller et à disparaître. Après quelques années de vie pandémique, je réalise maintenant :” “« ça va bien aller » is not a guarantee but a hope, only possible through interconnectedness.” “« ça va bien aller », ce n’est pas une garantie mais un espoir, uniquement possible grâce à l’interdépendance.”
Adler-Bolton, Beatrice, and Artie Vierkant. 2022. Health Communism: A Surplus Manifesto. Verso Books.
Institute national de santé publique du Québec (INSPQ). n.d. “Données COVID-19 au Québec.” INSPQ: Centre d’expertise et de référence en santé publique. Accessed February 05, 2023. https://www.inspq.qc.ca/covid-19/donnees.
Mingus, Mia. 2022. “You Are Not Entitled To Our Deaths: COVID, Abled Supremacy & Interdependence.” Blog. Leaving Evidence (blog). January 16, 2022. https://leavingevidence.wordpress.com/2022/01/16/you-are-not-entitled-to-our-deaths-covid-abled-supremacy-interdependence/.
Silverstein, Jason, and Martha Lincoln. 2022. “Why We Fight.” Blog. Peste (blog). December 13, 2022. https://www.pestemag.com/first-row/why-we-fight-w55lm.
Kateri Kramer reviews Enchantment by Katherine May.
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A devastating e-bike tragedy. Children fired out of cannons. The media circus surrounding George Santos. A psychology professor studying the science of awe. And a deep dive into a beloved (and dirty) Peanuts character.
Peter Flax | Bicycling Magazine | January 31, 2023 | 8,136 words
Exactly two years ago, 12-year-old Molly Steinsapir got onto an e-bike with her best friend, crashed, and died. I remember when it happened — the tragedy was covered widely, in no small part because Molly’s mom took to social media to talk about it. Now, in a moving and nuanced feature, Peter Flax examines the question of who, if anyone, is liable for Molly’s death. Flax, who owns two bikes made by the manufacturer of the one Molly rode, a company her parents are now suing, illuminates how the explosive growth of the e-bike industry, while a seeming net good for people and the planet, isn’t without dangerous consequences. There aren’t a lot of industry regulations, and there are pressing concerns about the quality of popular equipment. “As a country we have decided we value entrepreneurship and business and letting people just go to market,” Molly’s mom, Kaye, tells Flax, “and then we find out if the thing is safe or not as it is sold and marketed and used.” This is one of my favorite kinds of magazine feature, the personal story that serves as a lens for a bigger one, which in turn asks people to wrestle with urgent questions. Molly is gone, but her death may well save another 12-year-old girl somewhere. —SD
Abigail Edge | Narratively | January 9, 2023 | 6,964 words
I was a child who had to endure being padded up to the hilt and a safety lecture just to get on a bike. So this story, about a family who happily fired their children out of cannons (starting around the ripe old age of 14), left me agog. An insight into a different world, it is a delightful read about what happens if you actually do run away with the circus. David Smith was 27 when he and his wife, Jean, joined a traveling circus — a surprising career move for a maths teacher. After a stint as a trapeze artist, where he would catch his wife as she hurtled through the air, he found cannon life and never looked back, continuing to be fired over 100 feet into his 70s. The couple’s children grew up immersed in circus culture, seeing it change over the years as circuses fell out of favor; David’s son, David Jr., is still being fired out of cannons today. Pragmatically told, this is a measured take on an extraordinary family. —CW
Jesús A. Rodríguez | Politico Magazine | January 31, 2023 | 4,248 words
Okay, so Politico doesn’t believe in Oxford commas. Demerit issued. But look past that, because Jesús Rodríguez turns on the gas for this scrum’s-eye view of what it’s like to have to cover George Santos, a man whose unrelenting mendacity is shocking even by Congressional standards. If Frank Sinatra had a cold, Santos has an allergy to anything resembling virtue. But he does have the feeble bribery of a box of donuts, which he leaves outside his office for the frustrated journalists — and the last of those donuts provides the apt (if obvious) literary device that fuels the piece. Empty calories, with a core of emptiness at its center: Is there a better culinary symbol for a man like this? Rodríguez knows you know the answer, so he just lets the question sit as he chases Santos around the Capitol and surrounding offices, chronicling every platitude, snipe, and muttered aside along the way. This may be a piece about an elected official, but to call it political journalism does it a disservice. Sometimes you need to laugh to keep from crying, so enjoy the punchlines while you can. —PR
Henry Wismayer | Noema | January 5, 2023 | 6,377 words
“To experience awe, to fully open ourselves up to it,” writes Henry Wismayer, “helps us to live happier, healthier lives.” But what is awe? How has the human sense of wonder over the centuries driven us toward various pursuits and ways of being? Wismayer spends time with Dacher Keltner, a Berkeley professor at the forefront of a scientific movement examining our least-understood emotional state. I’ve appreciated Wismayer’s recent contemplative essays on other subjects, like travel and tourism, and this hybrid of profile and reported essay is yet another thought-provoking read. It’s informative about this new field of psychology but not at all dense, and I came away from it fresh, open-minded, and ready to experience the small wonders of my day. —CLR
Elif Batuman | Astra Magazine | October 27, 2022 | 2,245 words
I’m still sad that Astra Magazine is no more. Maybe it’s because I’m seeing so much fervor for bot-written text lately (oh hi, ChatGPT) and I worry about its mind-boggling potential to pollute the internet with pap left unchecked, not to mention the repercussions of inevitable misuse. Thankfully Astra remains online for now, which allows you to read Elif Batuman’s terrific deep dive on the Peanuts character Pig-Pen. Through Pig-Pen, Batuman explores what Charles Schultz had to say about American values in the 1950s and beyond, most notably, commentary on the darker side of society and relationships. But, in wearing his messiness with pride, is Pig-Pen perhaps the most authentic Peanut of all? “Everyone, it turns out, has a Dirty version of themselves: mussed, unkempt, scribbled over. This feels true.” —KS
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A strong character in her own right, Harley Quinn is defined by strong relationships. When Paul Dini and Bruce Timm first conjured the character for Batman: The Animated Series in the 90s, Harley Quinn was designed to be a fun subversion of the hulking henchman trope. — Read the rest
Around this time last year, I wrote about my love for The Department of Truth by James Tynion IV and Martin Simmonds, a sort of meta-level X-Files riff about conspiracy theories that literally bend reality. I deeply enjoyed Tynion's work on Detective Comics and tend to get a kick out his newsletter, but I hadn't read that much of his other work*, which until recently was largely DC Comics-based. — Read the rest
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