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George Pérez, legendary ‘Wonder Woman’ and ‘Teen Titans’ comic book artist, dies at 67



George Pérez, a legend of DC Comics frequently considered one of the best comic book artists of all time, died Friday from pancreatic cancer. He was 67. He is survived by his wife, Carol Flynn. In her statement, Eza announced the official memorial for Pérez will take place this month during the comics convention MegaCon Orlando. The service will be open to all.
Last December, Pérez announced that he was diagnosed with pancreatic cancer. The news of his death was shared by his close friend, Constance Eza, who posted a statement on Pérez’s Facebook page and her personal Twitter.
“Everyone knows George’s legacy as a creator,” Eza’s statement reads. “His art, characters and stories will be revered for years to come. But, as towering as that legacy is, it pales in comparison to the legacy of the man George was. George’s true legacy is his kindness. It’s the love he had for bringing others joy — and I hope you all carry that with you always.”
Famous for his detailed, realistic renderings that captured both the power and the humanity of superheroes, Pérez rose to prominence for his work on “The New Teen Titans,” which saw him co-create popular characters such as Starfire, Cyborg, Raven and the menacing Deathstroke. He penned some of the most critically-acclaimed superhero comics of all time, including two extended runs on “The Avengers” and the groundbreaking event series “Crisis on Infinite Earths.”
Although primarily an artist, he also wrote several comics, including a much-celebrated run on “Wonder Woman,” often considered the definitive storyline of the iconic heroine. Accolades he received during his time as an artist include four Eagle Awards, two Jack Kirby Awards, an Inkpot Award and a lifetime achievement Inkwell Award for his work as an artist.
Born in 1954 to a Puerto Rican family in the South Bronx, Pérez aspired to be an artist from an early age. When he was 19, he began working for Marvel Comics as an assistant to “Fantastic Four” artist Rich Buckler. In 1974, he made his debut as an artist in a story for the anthology series “Astonishing Tales.” He would go on to do the art for multiple other Marvel titles, co-creating the White Tiger, the company’s first Hispanic superhero, with Bill Manto in “Deadly Hands of Kung Fu.”
Other titles he had stints on included “Fantastic Four” and “The Inhumans,” but his most notable Marvel title was “The Avengers.” A regular artist on the title from 1975 to 1980, Pérez drew many notable storylines for the comic, including “The Korvac Saga” from writer Jim Shooter. He also co-created the characters Henry Peter Gyrich and the Taskmaster during his run.
In 1980, Pérez was approached by DC Comics to do the art for “The New Teen Titans,” a relaunch of the teenage superhero team helmed by Marv Wolfman, who he previously worked with on a story for “Fantastic Four Annual.” Pérez penciled the title for five years, and it proved a breakout hit, becoming the highest-selling comic for DC. Over the course of his time working on the series, Pérez attracted attention for his dynamic page layouts, honing his detailed, expressive style. After leaving the title in 1985, he would return for an extended stint in 1988, penciling and co-plotting a new origin for Wonder Girl Donna Troy.
After his initial “The New Teen Titans” run, Pérez collaborated with Wolfman on “Crisis on Infinite Earths,” a 50th anniversary DC Comics event series designed by the company to act as a soft reboot for its characters. The epic 12-issue limited series, which sees the heroes of DC band together to defeat the intergalactic Anti-Monitor as it attempts to destroy the multiverse, is often credited as an influence for many other large-scale event crossovers in comic books. Pérez’s artwork for the series, which saw him draw numerous, extremely detailed crowd scenes featuring the heroes of DC, attracted praise. His cover for the seventh issue of “Crisis,” which shows Superman mourning a dead Supergirl, has become one of the most famous and frequently homaged covers in the history of comic books.
Following the end of “Crisis on Infinite Earths,” Pérez joined the “Wonder Woman” comic book to help steer a full-scale relaunch of the character. Although he initially worked as a co-plotter for writers Greg Potter and Len Wein, Pérez eventually took over full scripting duties, writing either solo or with co-writer Mindy Newell. Pérez’s depiction of Princess Diana was more athletic and brawny compared to other artists’ takes on the character, and the reboot significantly altered her backstory, giving her a more in-depth connection with the Greek pantheon of gods. Pérez’s run would be cited by Patty Jenkins as a key influence on her 2017 blockbuster “Wonder Woman” film.
Pérez left “Wonder Woman” in 1992, following a dispute with DC over their treatment of his mini-series “War of the Gods,” which he created as a celebration of the character’s 50-year anniversary. Pérez felt that DC wasn’t doing enough to commemorate the anniversary, particularly when they neglected to put the story on newsstands, making it only available in specialty comic book shops. After DC stopped him from having the characters Steve Trevor and Etta Candy marry in the final issue of the miniseries, in favor of having the next “Wonder Woman” writer William Messner-Loebs include the wedding in a future issue, Pérez stopped working with DC for several years.
During this period, Pérez returned to Marvel to pencil the event series “Infinity Gauntlet,” from Jim Starlin, which became a top-seller and would act as an inspiration for the Marvel films “Avengers: Infinity War” and “Avengers: Endgame.” Due to a heavy workload with “War of the Gods” and the stress of his dispute with DC, Pérez was unable to finish “Infinity Gauntlet,” with artist Ron Lim handling the last two issues.
However, following “Infinity Gauntlet,” Pérez began working more extensively with Marvel again, including on the 1992 “Hulk: Future Imperfect” miniseries with writer Peter David, often considered the all-time best story for the character. In 1994, David and Pérez also collaborated on the 1994 miniseries “Sachs and Violens,” and he would later have a stint as a writer on “Silver Surfer.”
In 1998, Pérez returned to “The Avengers” for a relaunch of the series with writer Kurt Busiek. The back-to-basics series saw Pérez receive acclaim for dynamic, clean artwork. After leaving the series Pérez and Busiek reunited for the 2003 crossover miniseries “JLA/Avengers,” which saw both teams encountering each other and teaming up to combat a threat. Pérez was one of the original artists of a planned “JLA/Avengers” crossover in the ’80s, which was cancelled due to company disagreements, and his pages would be published in the collector’s edition of the miniseries. Pérez depicted many crowd-pleasing moments over the course of the series, including Superman dual-wielding Thor’s hammer and Captain America’s shield.
After “JLA/Avengers,” Pérez’s output slowed down, though he remained active as an artist for many years. In 2005, he was one of the artists for “Infinite Crisis,” a follow up to “Crisis on Infinite Earths,” and in 2008 he served as the main artist on “Final Crisis: Legion of 3 Worlds.” In 2007, he drew the first ten issues of “The Brave and the Bold,” working with writer Mark Waid.
In 2012, he again stopped working for DC after departing from his role as writer and cover artist of “Superman,” which he helmed during the DC Comics New 52 reboot. Pérez explained his decision as a result of disagreements regarding rewrites of his material and poor editorial planning regarding the reboot. After leaving DC, he wrote and drew a sci-fi miniseries “Sirens” for Boom! Studios from 2014 to 2016. He announced his retirement due to health issues in 2019.


GeekAfrique’s Best Comic Book of 2022: ‘New Masters’



‘New Masters’, by the Coker brothers, takes the reader into a future Nigeria which while dark, is filled with hope, powered by writing that’s masterful and art that’s gorgeously atmospheric, weaving one of the most compelling stories in graphic fiction this year.

By Abdulkareem Baba Aminu

As soon as the story opens with the following lines: ‘1124 Post Adventu, a few miles East of the Kainji Mines, deep into the Eko Exclusion Zone’, we meet Ola. The spunky tech-enhanced teen, accompanied by a droid called Àṣẹ, has slid down a cable to scavenge, but instead finds what could be a large deposit of raw Obsidium, a crucial mineral that has all kinds of individuals in hot pursuit. I immediately fell in love with the characters, a love which becomes absolute when the droid asks our heroine if she would like it to “Initiate the pick-race protocol”. How much more Nigerian could a comic book get? (Note for non-Nigerians: To ‘pick-race’ means to run away, or to flee a situation or an individual out of one’s league)

Ola soon tries to offload her precious find, and in the process, we meet some of the most colourful characters I’ve come across since the original Star Wars trilogy or Nnedi Okorafor’s spectacular ‘LaGuardia’ graphic novel. A shifty suya seller-cum-black market dealer, a high-powered committee consisting of humans and aliens, or a couple made up of a Yemi Alade-esque fashionista and a lover from literally another world. It has such a varied cast of characters that a traditional comic book reader might feel overwhelmed. To me though, it was a perfectly-built world, populated by the most realistic characters I’ve come across in science fiction in a long time.

It has such a varied cast of characters that a traditional comic book reader might feel overwhelmed. To me though, it was a perfectly-built world, populated by the most realistic characters I’ve come across in science fiction in a long time.

Also, what’s a futuristic yarn set in Nigeria without Lagos, the city we all love and hate in equal measure, or Tejuosho for that matter? That’s not to mention cameos by Hausa words like ‘Tozo’ when Ola barters for a bit of Suya at Yaba Market, or an earlier-mentioned exclamation of ‘Shaege’ (a corruption of the Hausa word for ‘bastard’, weirdly also used to denote chronic badassery). Then the cherry – or cherries – on this layered cake: Views of Eko City itself, as well as the slums of Makoko, still sinking even in this far-flung future.

This, the first story arc, is called ‘The Eye of Orunmila’ in reference to a massive status quo-changing trove of knowledge that will change the universe. It also appears to be the chief McGuffin of the story, driving the story forward so well that the following chapters almost have no choice but to follow suit. The writing by Shobo Coker, one half of the duo of Nigerian brothers who created this masterpiece, is deft in its delivery of character beats, and in its layering of fantastical sci-fi backdrops. The dialogue flows in such an organic way that one could easily forget he is reading a comic book. One word: Bravo.

The art is the work of an accomplished illustrator. One minute it looks stark and glisteningly computer-generated, the next it’s as organic and unsettling as some of the most masterful watercolour work currently being done in the medium.

The art, by Shof Coker, is the work of an accomplished illustrator. One minute it looks stark and glisteningly computer-generated a la ‘Blade Runner’, the next it’s as organic and unsettling as some of the most masterful watercolour work currently being done in the medium, a la the production design of Denis Villeneuve’s ‘Dune’ film. Even the lettering is kinetically charged, and is part of the artistry which graces the pages of this beautiful comic book. There also are locales that are as many as they are far-flung from each other and a distinct and deliberately-done combination of the familiar and the futuristic. One word: Bravo, also.

PR material says it is ‘A vision of West Africa under the thumb of alien colonizers’, wherein ‘A motley crew of outcasts find themselves caught up in a power struggle for control of an ancient artefact with immense power’. The comic book is also described as ‘A ground-breaking blend of science fiction, adventure, drama, and vibrant Afrofuturism’. I totally agree, even if the correct term is ‘Africanfuturism’, but that’s a fight for another day. With a handsome trade paperback edition out now, it is safe to declare this the most energetic debut of this year so far, and by far.  

‘New Masters’ Vol. 1 trade paperback, published by Image Comics, is on sale now.

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AI-created comic deemed ineligible for copyright protection



The United States Copyright Office (USCO) reversed an earlier decision to grant copyright to a comic book that was created using “A.I. art,” and announced that the copyright protection on the comic book will be revoked, stating that copyrighted works must be created by humans to gain official copyright protection.

In September, Kris Kashtanova announced that they had received a U.S. copyright on his comic book, Zarya of the Dawn, a comic book inspired by their late grandmother that she created with the text-to-image engine Midjourney. Kashtanova referred to herself as a “prompt engineer” and explained at the time that she went to get the copyright so that she could “make a case that we do own copyright when we make something using AI.”

“AI art” is artwork created by an artificial intelligence machine learning process, meaning that a computer/machine has learned information, such as the past work and art style of other artists, and descriptions of characters and images, and then generated a new image using that learned knowledge.

“AI art” is artwork created by an artificial intelligence machine learning process, meaning that a computer/machine has learned information, such as the past work and art style of other artists, and descriptions of characters and images, and then generated a new image using that learned knowledge. The knowledge fed into the machine is almost always from humans, who also often feed into the machine-specific guiding instructions for the creation of the art, but the actual final creation is generated by the computer/machine (in this instance, it would be Midjourney).

The USCO had previously denied giving copyright protection to A.I.-produced art, including earlier in 2022 when it denied protection to Stephen Thaler and his AI-generated painting, “A Recent Entrance to Paradise.” Thaler then sued the Copyright Office, so the Office granting protection to Zarya of the Dawn was naturally a surprising turn of events.

However, in a post on her Facebook page. Kashtanova revealed that the USCO had contacted her to tell her that it was revoking the protection, explaining that it had errantly missed that Midjourney had created the art for the comic (despite Midjourney being listed on the credits of the cover of the comic). The USCO has given Kashtanova 30 days to appeal its decision.

Kashtanova pointed out at the time that they were “open to how it was made and put Midjourney on the cover page,” but the actual application doesn’t specify the role of Midjourney in the creation of the comic, only noting that the comic was “A.I.-assisted.”

Source: AI Business              

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Lagos Comic Convention 2022: We’re ready for 10,000 guests – Elegba



Ayodele Elegba created Lagos Comic Convention, the fastest-growing annual gathering of geeks in the country, and this year will see the event hitting a milestone as it marks its tenth year on Saturday, Sept. 17. He spoke to us about his enthusiasm that this year’s will be the biggest and best show they’ve ever given fans, as well as many other points. He spoke to Abdulkareem Baba Aminu, and herewith are excerpts:

By Abdulkareem Baba Aminu

GeekAfrique: For Lagos Comic Convention 2022, what will you be doing differently?

Ayodele Elegba: This year is like a rebirth for us. After the COVID pandemic, we saw a decline in events and socializing. It was a scary situation, and we never thought we would be back again. We are grateful that geeks from all over Nigeria came together last year, even if masked, but with the same hyper-enthusiasm. This year, we have been able to secure a title sponsor in Raptures, a comic book app that hopes to change the way comics are perceived in Africa. We also have secured sponsorship for our zones as well, something we have been trying to achieve for a while now. Also, the French Consulate’s kind sponsorship continues this year.

This year, for the first time, the entire event will be ticketed and we have made this decision because our goal is to make the event self-sustaining, and we can give the fans the opportunity to finally support the event and say ‘thank you’ for the 10 years we have organized the event for free. This year we will be announcing the DreamMakers Award for individuals and organizations who have contributed immensely to the growth of comic books in Nigeria. 

“It’s been ten years, and we are poised to welcome over 10,000 guests this year.”

Of course, we are back at the Landmark Event Centre, and we will be bringing back all the juicy activities the fans are used to seeing, like cosplay, panel discussions, screenings of exclusive clips from films and animation, and exhibitors selling their comic books and merch. It’s been ten years, and we are poised to welcome over 10,000 guests this year

GeekAfrique: Since you began the event, what has been the single most difficult goal for you to crush?

Elegba: I think the most difficult has been to make big corporates see the comic convention for what it is. Many of them are used to musical concerts and reality shows and will not put money into what they still perceive as kids’ stuff. We’re still working hard to change that perspective and get big money companies to support and sponsor.

In the past, I would clear my account to pay for the event. But over time we have seen the event now able to mostly sustain itself based on sponsorship, vendors, and ticketing. This year we are grateful for all the numerous exhibitors and sponsors who have joined us this year to make it a reality.

GeekAfrique: You’ve kept at it for a decade now. What has kept you going on?

Elegba: I guess the dream has kept me going. You know, the image of a future where African comic books will become a household name, and adapted into movies, games or animation. Also, the dream of the average young person making money from talent, as well as that of animation studios springing up all over the country, and big-name streamers courting them. This dream keeps me awake every night, and I am glad of the growth we have seen in the creative space since Lagos Comic Convention began.

GeekAfrique: How much of a presence will animation have this year, as RENDACON has been created to take care of that?

Elegba: Animation will always have a special place at Lagos Comic Convention. This year will not be an exception, as we have studios like Spoof! Animation coming to premiere its latest project at the event. With our partnership with FilmOne, it means animated films and shorts will be screened on actual cinema screens this year. We had actually begun to see a growth in animation content at the convention a few years ago. More and more animation studios and storytellers were springing up, and we didn’t have enough room to actually do justice to them all. so we established RENDACON (Radical Exhibition of New and Dynamic Animated Content). We will be having the second edition in November, and we hope to bring a lot of speakers and trainers to discuss topics that will help growth in the animation space.

“It’s tough (laughter), especially when you have some very juicy scoops. Even now I am privileged to some government announcements that will be made at the event, but I am not permitted to say.”

GeekAfrique: Participating creators and companies no doubt share secret projects with you during planning. How do you summon enough willpower to keep those secrets?

Elegba: It’s tough (laughter), especially when you have some very juicy scoops. Even now I am privileged to some government announcements that will be made at the event, but I am not permitted to say. I keep my mouth shut because I don’t want to spoil the surprise(s). I think it’s more fulfilling to see rather than be told, and this is why fans need to attend physically and experience all the great stuff for themselves.

GeekAfrique: Your own comic book company has been rather quiet regarding actual publishing of books. Why is that?

Elegba: We just wanted to re-evaluate our business model and look at other ways of succeeding at printed copies. The animation side of the business is doing quite well and it’s almost impossible to make comics at the same time too.  But we will be making some announcements at the convention, so fans should watch out.

QeekAfrique: If you could have one celebrity grace the Lagos Comic Convention, which one would it be?

Elegba: I would love to have Idris Elba over, to come to talk about his experience working with James Gunn on the Suicide Squad movie, his Heimdall role, and to just hang out with fellow geeks and soak up the awesome Lagos energy. It’s always a pleasure seeing a black man representing very well in comic book movies.

Lagos Comic Convention is slated to take place on Saturday, September 27th, 2022.

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