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((Sailor Moon AU Doopliss.

Doopliss is a magical blanket that is creepy and gives Usagi cryptic life advice, while also doubling as the blanket in her bedroom. If the universe can have a talking cat and demons, then I think a talking blanket shouldn’t be that far of a stretch.

… Perfect.))

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I’ll be sharing a table this year with the amazing jorgecor. He’s offering limited commission spots, and talking about his new book with DC “We Are Robin”, as well as his other books “Feathers” and “Goners” out through Boom!/Image.
So definitely come check out his stuff as well! Table# 6117 in Artists Valley.

Nike does not manufacture its own products. It only designs and markets them. About 550,000 workers are employed in 700 factories in 50 countries to make Nike products, the majority in Asia. The contractors tend to pay close to the minimum wage. This cheap labour enables Nike to spend a great deal on design and marketing, pay large executive salaries, maintain large profits, and still keep the cost of the shoes affordable to the middle classes in affluent countries. Shoes that cost $16.75 to manufacture are sold for around $100 in the US.

Since Nike spends so much on marketing and so little on the product itself, it is clear that the reputation of its brand is all-important. The writer Naomi Klein has noted: ‘In many ways branding is the Achilles heel of the corporate world. The more these companies shift to being all about brand meaning and brand image, the more vulnerable they are to attacks on image.’ So Nike was in trouble when its contractors were accused of manufacturing Nike products in sweatshop conditions, using child labour, paying less than the minimum wage, enforcing overtime, subjecting employees to verbal abuse and sexual harassment and running factories like prison camps.

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Putting the Boot In

(Sharon Beder, ‘Putting the Boot In’, The Ecologist 32(3), April 2002, pp. 24-28, 66-7)

The Comic Book Biz Has To Do Better And Changes I Had To Personally Make.

The bigger publishers of comics must do a better job of repping for people of color and minorities, on the page and production side. I don’t have the clout or power that the editors of the bigger comic book pubs have, but I was able to make a comic (CASH & CARRIE, currently on Kickstarter) with a diverse squad.

Character/Creator diversity in comics is not hard to do. But when we try to bring this up to most “pro” creators/editors, they may deflect or they get waaaaaaaaaaaaaay into their feelings for something they don’t own and take it personal as if they’re being personally attacked. 

The truth of the matter is that all we are looking for are answers why the comic book game shuts people of color and minorities out frequently. 

The comic book business is very toxic, and filled with toxic, insecure people. There are some folks in the game that want to make progressive changes within the industry, but even the “change” they’re trying to do is a trickle when compared to other forms of business over the last 50 years. 

I sincerely understand why many creative Black people don’t fuck with the comics business. It’s severely stress inducing. And when you think about it, the amount of stress, racism, passive racism, and good ol’ boy systems just to work for a big pub  for rates that may not reflect what you really need to earn in order to live is WACK. You can’t always just do something for the love.

You can’t. I’ve tried.

You have to be able to eat. You have to be able to pay bills. You have to be able to live and be balanced. But since the comic book market crash of the 90s, the game has been tough for many.

But for Black folks the shit is like The Great Depression.

Creating CASH & CARRIE is a small, but important step for me personally. It removed a lot of the toxicity of the comic business. I found happiness. It was pretty easy to find and collaborate with these wonderful people on the debut CASH & CARRIE comic book:

Giulie Speziani - Writer

Penny Candy Studios - Main Artist/Cover Artist/Designer

Fellipe Martins - Pinup Art

Jared Sams - Pinup Art

Laurie Skelton - Pinup Art

Mariana Costa - Pinup Art

Shauna Grant - Variant Cover Artist

Jay Reed - Variant Cover Artist

Justin Castaneda - Variant Cover Artist

Anthony “Trill League” Piper - Variant Cover Artist

Andy Jewett - Pinup Art

Carl Yonder - Pinup Art

Justin Stewart - Pinup Art

Kenny Keil - Pinup Art

Michael J Hall - Pinup Art

Me - Creator/Editor

Character and creator diversity in comics is not a difficult thing to do. If I can do it, they can. 

The question is do they want to though?

I know for me there will be times that I’ll have a comic with a diverse team, and there will be times that it may not happen.

But at least I’m trying to be diverse though. These are multi-million pubs who celebrate when they have ONE book with diverse creatives.

ONE.

Some of you may agree/disagree with what I’m tweeting. It’s all right. I should have said this years ago. No more holding toxic stuff in.

But when I see the responses that the CASH & CARRIE Kickstarter has had, I know that the path I’m taking now is the right one.

I’m out. Have a good night. Hit me up if Marvel ever puts a Black person on the “Lando” comic creative team. Peace.

Support those who are actually making a legit attempt to make diverse books.