French cartoonist encountered lawsuit by computer game company trying to bar his creation from publication, but it all ended fortunately

Recently, Instant Gaming News said a French cartoonist was having legal problems with a video game company that uses the same title as he did for a GN he's publishing, for their computer game:

The world of intellectual property can sometimes be ruthless. On X, the author of a comic book stated that he had received a letter from a lawyer sent by Sandfall Interactive with the aim of stopping the commercialization of his creation.

The problem lies in the name of the comic book, which is called L'Académie Clair-Obscur. However, its creator, Olivier Gay, stated on X that his project was pitched to the publisher Drakoo in 2019 and the contract was signed in March 2024. All of this happened well before the release of Clair Obscur: Expedition 33, which was in no way inspired by the comic book.

L'Académie Clair-Obscur tells the story of a peasant who enrolls in a school of magic. Clair-Obscur is a particular magical technique. Having "neither the energy nor the money to engage in a legal battle," the author will therefore change the name of the comic book. He also says he is a big fan of Sandfall Interactive and Clair Obscur: Expedition 33, which he has got the platinum for. He concludes by saying that it is "all the more disappointing to see them take legal action for no reason."

All of this is just an unfortunate coincidence that has real repercussions.

Obviously, this wasn't good it had to happen, and an unfortunate coincidence had to occur where the artist would have problems in how to title his story. But, the whole affair has luckily had a good ending, as the video game publisher agreed to withdraw their lawsuit:

Alerted by internet users, the Sandfall Interactive teams announced a few hours later that they wanted to find a solution. Finally, on Tuesday, March 10, 2026, the French studio confirmed that the lawsuit had been dropped. The developers mentioned in their statement that this action "does not reflect who we are" and now wish the comic book authors "every success."

I think this is relieving the artist won't have to go to all the trouble of retitling his story, nor will he have to face any lawsuits over what's a petty issue at best. So, good luck to him on what he's developing.

The 90th anniversary of a notable Scottish comic strip

The BBC looks at the history of Orr Wullie and the Broons, a notable comic strip from Scotland that debuted way back in 1936:

Jings! Scotland's favourite "spiky-haired loon" and best-loved family are celebrating their 90th anniversary - and looking good for it.

Oor Wullie and The Broons began creating chaos across the pages of DC Thomson's Sunday Post in March 1936.

Since then, Oor Wullie has spent nine decades perched on his famous bucket, while The Broons have portrayed the joys, chaos and heart of family life in 10 Glebe Street.

Now The Sunday Post is set to publish a commemorative supplement, featuring a national comics competition and guide on how to draw the spiky-haired boy in dungarees and hobnail boots.

Oor Wullie and The Broons were the creations of former DC Thomson managing editor Robert Low and sprung from the pen of illustrator Dudley Watkins.

The comic strips share tales of working-class life and community through mischief, family humour and their distinctive Scots language. [...]

The comic strip was loved by many for its portrayal of traditional home values - from Maw's wisdom and Paw's blustering to the antics of the bairns and romances and mishaps of Hen and Daphne. [...]

Thomas Hawkins, editor of The Sunday Post, said: "Very few fictional characters have lived as vividly in Scotland's imagination as Oor Wullie and The Broons.

"For 90 years they've mirrored Scotland back to itself - its humour, its grit and its sense of community and this anniversary is a chance to celebrate where they've come from, and the new stories still to be told.

"From boosting morale during the Second World War to putting a smile on readers' faces during the Covid pandemic, Oor Wullie and The Broons have been a reassuring constant in a world in flux."

What's impressive about a comic strip like this is that it's an important example of being proud of a country's national culture, and could doubtless make a great asset in an era where national cultures were massively damaged by political correctness. This is the sort of concept you may not have always seen in the USA, even in decades past, and it's surely something to learn from.

Colorist Tatjana Wood passes away at 99

National Today reports the veteran colorist Tatjana Wood, whose notable assignments in comicdom include Swamp Thing, passed away at nearly a century old:

Tatjana Wood, an acclaimed comic book colorist who worked on covers and interior pages for DC Comics in the 1970s and 80s, died on February 27 in Brooklyn at the age of 99. Wood was part of the creative teams behind critically acclaimed series like Swamp Thing, Camelot 3000, and Animal Man, and was known for her innovative and evocative color palettes that brought the comics to life.

Why it matters

Wood was a trailblazer in the comic book industry, helping to elevate the role of the colorist and demonstrating the immense impact color could have on the final artistic product. Her work on iconic DC Comics titles over a decade-long career cemented her legacy as one of the most influential and respected colorists in the medium's history.

She was also an important example of a woman in an early creative role. This reminds me how, in the past decade, there were MSM outlets spewing absurd propaganda that made it sound like women had only recently entered comicdom, which only has the effect of obscuring/erasing those who did in the past like Wood. And that was very disrespectful of women, as a result. Creators like Wood deserved far better.

Wood had some impressive assignments back in the day in the role of colorist, and she'll be missed.

Video game producer donates classic back issues to the Smithsonian

I previously wrote about what I thought was a questionable article by one of the founders of Riot Games, producer of League of Legends. Now, it looks like there is something good he's done that should serve as vital example in this day and age, as the Smithsonian magazine's announced Brandon Beck donated some classic back issues to the museum's archives:

Before Superman and Captain America became global symbols of heroism, joined cinematic universes and inspired Halloween costumes, they were just ink on cheap newsprint—bold, bright and bursting with possibility. Now, the comic book debuts of two of the world’s most iconic superheroes have found a permanent home at the Smithsonian’s National Museum of American History.

In an extraordinary acquisition, gifted by Brandon Beck, co-founder of the video game developer Riot Games, the museum has added Action Comics No. 1 and Captain America Comics No. 1 to its collection. These comic books were the public’s introduction to characters whose influence today spans movies, television, toys and the imaginations of several generations.

This is what collectors doing it for the sake of the speculator market should really be doing: donating those brilliant treasures to museums, and thankfully, here we're seeing a far better example set. Predictably, however, this article can't evade certain political biases:

Superman first leapt onto the page in 1938’s Action Comics No. 1, widely considered the beginning of the superhero genre. Created by writer Jerry Siegel and artist Joe Shuster, Superman—a caped defender of humanity who came to Earth from the doomed planet Krypton—embodied Depression-era yearnings for justice. Nearly 90 years of storytelling were launched from that first issue.

Captain America arrived in December 1940, with the issue dated March 1941, as global conflict intensified. Created by writer Joe Simon and artist Jack Kirby, the star-spangled super soldier debuted with an unforgettable image: delivering a crushing right hook to Adolf Hitler’s jaw, before the United States officially entered World War II in December 1941. The cover was more than sensational art—it was a bold political statement. When a scrawny Brooklyn volunteer named Steve Rogers was transformed by science into a symbol of national resolve, comic books became a vehicle for wartime morale and democratic ideals.

In an era where such values as democracy and morale are being shredded, that's certainly saying something, isn't it? Interesting how they argue that Cap's Golden Age debut was a political statement, but today, when somebody wants to take on issues like Islamic terrorism, suddenly it's inappropriate, and not bold at all. And should it really be described as a political statement? Maybe that's running the gauntlet of hijacking somebody else's creation for their own propaganda goals, and not considering that issues like totalitarianism is a serious topic that transcends mere politics? As though they couldn't give more suggestions their own claim is political, a more recent form of propaganda comes up:

“We use objects from popular culture to reflect and learn about the past, and the comics provide incredible insight into the era from which they come, including the relationships between the books’ Jewish American creators and the beginning of the World War II era, fascination with technological and scientific advancements, and representations of sacrifice and heroism during challenging times,” says Jentsch.

Taken together, the comics reflect societal anxieties and aspirations alike—whether in Superman’s immigrant origins or in Captain America’s wartime ethos. “The pivotal creators of these comics—Jerry Siegel, Joe Shuster, Joe Simon and Jack Kirby—were all first-generation Jewish Americans, anxious to make their marks in a country that had welcomed their parents,” says Paul Levitz, president of DC Comics from 2002 to 2009 and writer of many comics, including Superman, via email. “As someone who had the pleasure of knowing them all, I can confidently say that this recognition of their work in the most significant comic book acquisition in decades, would have been a great affirmation of the groundbreaking genre that they created.”

Another article where they fall back on the angering cliche of describing the Man of Steel as an "immigrant" instead of an otherworldly refugee from a destroyed planet. Based on that, it's hard to believe the Smithsonian's really serious about respecting the goals of the Golden Age creators, let alone their ethnic heritage and backgrounds. Considering how disinterested leftist ideologues like the Smithsonian's are in learning and reflecting on the past, what's the use of their acquiring the classic oldies when they may not do justice for their history? And even now, Levitz may not be fully qualified to speak in their name, considering he sold out to Islamic propagandists nearly 2 decades ago, and even indicated he thought abortion was okay years later. As a result, Levitz for one isn't offering the best affirmation of the acquisition.

The timing is apt. In recent decades, superhero narratives have dominated box office returns and streaming platforms, generating expansive programming and reshaping Hollywood economics. Yet the origins of these billion-dollar franchises remain humble: Stapled pages sold for a dime at neighborhood newsstands. Today some of those rare pages are among the most valuable printed materials in existence. Four years ago, Captain America’s first adventure sold for more than $3 million at auction. Last year, a copy of Superman No. 1 was auctioned for more than $9 million. In January, a copy of Action Comics No. 1 sold privately for $15 million.

And it doesn't bother them that outside the donation of Beck's back issues to their archives, there's speculators out there who've sold these back issues round and round, yet never, not once, donated to museums, let alone bought themselves wall paintings of the same characters? What isn't discussed by extension is whether that suggests the speculators are actually ashamed of the products, their desire to own them notwithstanding.

That 2 of the most famous superheroes' premiere issues have been acquired by a museum is a positive example in itself, and Beck deserves credit for setting a good one. But beyond that, there's no telling if an institution that's been pretty left-leaning will do enough to convince they really support the messages Superman and Cap were built upon back in the day, or that they don't wish to exploit the material for the sake of leftist propaganda, as their description of Superman suggests. Do they even know Simon was conservative? Will they ever even put Simon's illustration of Cap smashing Osama bin Laden on display in their future exhibitions? If not, then this purchase amounts to little, and won't be respecting the visions of the original creators.

The role of Detroit, Michigan in comicdom

NPR-Michigan Public wrote about what role a city like Detroit played in producing comics, and tabletop games:

When people think of Detroit, they might think of the city’s reputation for auto manufacturing or Motown music—but what about comic books? Two recent exhibits at the Detroit Historical Museum showcase the city’s lesser-known influence in comic books and tabletop gaming.

Curated by Billy Wall-Winkel, “Heroes vs. Villains” explores Detroit’s comic book history, showcasing more than 60 comic artists with ties to Michigan. The exhibit features artists like Jerry Bails, known as the “father of comic book fandom,” and Shel Dorf, the founder of San Diego Comic-Con, among others. A companion exhibit, “Worlds of Palladium,” profiles Detroit-based publisher Palladium Books, a pioneer in the tabletop roleplaying game community.

“We had folks here in Detroit that were just absolutely obsessed with science fiction and fantasy,” Wall-Winkel said. “We had folks that wanted just to convince everyone else that comics [were] a legitimate art form.”

Trouble is, anybody who thinks they succeeded in convincing they are a valid art form failed, if we look at this from an artistic perspective, and how the mainstream was devastated by political correctness. The only thing the specialists convinced anybody about was that comics make a great wellspring for extended media potential like movies and TV programs. And for a while, yes, that was a success. But by the turn of the decade, the fortunes of Marvel's movieverse began to recede under the weight of wokeness,

The exhibit also features the work of Detroit comic artists who worked for Marvel and DC, including Jim Starlin, Rich Buckler, Keith Pollard, and many more. Wall-Winkel’s personal favorite is writer Dwayne McDuffie, who pioneered minority representation in superhero comics through Milestone Media.

Be that as it may about McDuffie, something that disappoints me is that he was still quite a leftist, from what I know. But, if it matters, it's admittedly disgusting how Dan DiDio fired McDuffie over an Orwellian Thoughtcrime after the latter indicated he wasn't happy writing Justice League in the mid-2000s, because of horrible editorial mandates forced upon him. The worst part is that DiDio all but got away with doing so, and who in the mainstream holds him accountable for disrespecting a POC today over a petty issue? Let's not forget Frank Miller inexplicably hired him as an editor for a self-titled imprint Miller launched a few years back, and if it was a flop, DiDio's involvement alone is arguably why.

As noted, the article also brings up tabletop games like Dungeons & Dragons, and how such concepts have overlapped with comicdom:

Palladium Books was founded in 1981 by Detroit artist Kevin Siembieda, a time when tabletop gaming surged in popularity. The publisher is most known for tabletop games like Rifts or Teenage Mutant Ninja Turtles and Other Strangeness, which was the first licensed product of Teenage Mutant Ninja Turtles.

Tabletop games like Dungeons & Dragons allow players to act out fantasy adventures together, fighting monsters while playing as their own original characters. Dungeons & Dragons, in particular, has been having a mainstream moment after featuring heavily in the Netflix series “Stranger Things,” as well as the success of its own 2023 feature film. According to Wall-Winkel, fans of video games often turn to tabletop gaming as a more expansive way to explore fantasy and science fiction worlds.

Predictably, they won't get into how the franchise also encountered political correctness and was watered down in the past decade for the sake of leftist propaganda like "inclusivity", as though it were never there, and some of the silliest things about this direction are that they acted like the Drows, Orcs and goodness knows what other anthropomorphic villains in the franchise literally had to see positive depictions, as though they weren't there to begin with. D&D, for all we know, will probably be brought down hard in time by all this wokeism.

Without a doubt, Detroit's got plenty of interesting comics contributors abound who could make good subjects for this exhibition. But, if there's one whom I hope they haven't gone out of their way to highlight, it's Geoff Johns, whose writings in mainstream in the past quarter century were so inexcusably crude and insufferable, they'd make a very humiliating addition to the exhibition as a result. From what I can tell, Johns doesn't seem to be on the list, and if he's absent, that's fortunate. No need to sully the exhibition with the work of somebody as blatant as he proved to be in the long run.

That told, it's still a shame there's so much more an article like this could've brought up, and predictably, they wouldn't because it doesn't fit the superficial, PC narrative they follow.

Dark Horse's original founder no longer retains his position

The Oregonian reported that Mike Richardson, the founder of Dark Horse in the mid-1980s, and sold ownership 5 years ago, is no longer their CEO:

Publisher and Producer Mike Richardson is no longer serving as chief executive officer of Dark Horse Comics, the media enterprise he started from a single comic book store in Bend, Oregon.

Embracer, the Swedish video game holding corporation that acquired Dark Horse in 2022, has announced gaming executive Jay Komas as interim chief executive officer. Richardson had continued as chief executive officer following the acquisition.

Embracer declared the leadership transition in a statement that went out to business partners and creators according to Popverse, a pop culture news site.

“As part of our long-term strategy to better align Dark Horse within a more interconnected and forward-thinking group structure, we are enacting modifications to modernize the enterprise and enhance collaboration across publishing, gaming, film, merchandise, and other essential sectors,” Embracer stated in the announcement.

Well even before this, Dark Horse was already showing signs of deterioration in the past decade, from political correctness, and they once employed an editor named Scott Allie who was accused of sexual assault, but it took a while until they finally threw him out. And he was quite a wokester, based on what politics he emphasized, no doubt for virtue signaling to obscure his real characteristics. So Dark Horse isn't so clean, and lurching towards Orwellian tactics in writing/art does nothing to improve the situation. I think Richardson did build up an admirable business, but his failure to act against Allie back in the day dampens that impact.

He launched the publishing venture in 1986 with a focus on safeguarding creators’ rights. The move allowed him to secure some of the hottest comic book talent of that era. Dark Horse became home to creators including Frank Miller, who published “Sin City” and ”300," and Mike Mignola, who developed the Hellboy universe in the early ’90s.

The company also published licensed comics including “Alien” and “Predator,” even merging the two science fiction franchises into an “Alien vs. Predator” comic book series that eventually transitioned to the big screen in the early 2000s. [...]

Under Richardson, Dark Horse pioneered initiatives to adapt its comics for Hollywood while remaining involved as producers. Early films included “The Mask,” “Timecop,” “Dr. Giggles” and “Barb Wire.” “Hellboy” and “Sin City” both became successful movie franchises as well. Richardson most recently served as executive producer on “The Umbrella Academy,” Netflix’s adaptation of Gerard Way’s Dark Horse comic.

There are some gems that came from Dark Horse, I don't deny that. But I think a problem with a company employing the word "dark" in their name is that that's what they wound up emphasizing, if we go by what Frank Miller and Mike Mignola's GN series are about, along with the 2 aforementioned horror-themed movie franchises. But regarding creators' rights, did this ever extend to publishing agreements even with writers whose politics Richardson didn't agree with? If Richarson and company vehemently refused to publish, say, Mike Baron's Private American GN, then that's a very serious mistake right there, and exposes just the beginning of what's wrong with their MO. If Richardson and company were unwilling to show the courage to platform a product like that and prove they won't let "controversy" get in the way of something building on a right-wing angle, that only compounds what went wrong when they failed to fire Allie for his offensive behavior.

As for Hellboy and Sin City becoming "successful" film franchises, the former may have had 4 films, but the latter only 2, and the second was a failure. Also, IIRC, it was co-produced by the Weinstein Company, which collapsed out of business mighty fast after Harvey W's sexual abuse scandal came to light. And not all of DH's movie ventures were successful, recalling Barb Wire was a failure, its shoestring budget at the time notwithstanding.

And then Richardson goes so far as to sell off his company, suggesting it wasn't really the huge success they claim it to be. Why else sell it if it were?

There are decent items they've published, to be sure. They once, amazingly enough, reprinted Baron and Steve Rude's Nexus from 1981-97. But like many other publishers run by apparently left-leaning ideologues, they had some serious flaws that don't look likely to be smoothed over now that Richardson's on his way out. And who knows, maybe the time's come for some creators who've worked with them to move shop.

A biography of inker Vince Colletta

Apollo Magazine (archive link) spoke about a new biography for the late inker Vince Colletta:

The first comic strip with a recurring character appeared in 19th-century London: Ally Sloper’s Half Holiday (1884), a then-unusual combination of words and images. Yet while comic books were traditionally dismissed as a debased form of entertainment for American and Japanese adolescent boys (as well as the sources for a multi-billion-dollar film empire), a new book shows how they come with their own traditions and virtuosos. Drawn to Beauty: The Life and Art of Vince Colletta (Black Spring Press) explores the work of an illustrator best known for his work ‘inking’ Jack Kirby’s drawings in Marvel’s Thor and Fantastic Four comics. Colletta (1923–91) is regarded as one of the finest inkers – the artists who translate the sketches into the image that is printed on the page. He was renowned for his delicacy and for giving the final shape to some of Marvel’s most popular characters, before leaving to eventually become the art director of rival company DC. But it’s what he did in between the two roles that might have become most influential.

Kirby may be one famous figure who's never gotten enough wide recognition, but Colletta's another who could use some more too. So it's great to know he's also received a biography of his work, long after he passed away. And there's plenty more figures from better eras who could use some biographies too, and hopefully will see them in time.

Manga publisher hurts their reputation by employing a sex offender who wrote under a pen name

Anime Hunch reported on a case involving the manga publisher Shokagukan, who've caused a scandal by employing a convicted sex offender who'd written under a pen name, all this despite the severity of his crimes:

Shogakukan, the publisher of hit manga like Frieren: Beyond Journey’s End and Detective Conan, confirmed on Feb 27, 2026, that it has suspended distribution of Jojin Kamen after acknowledging that its original author, Kazuaki Kurita, who wrote the series under the pen name Hajime Ichiro, was convicted in 2020 under Japan’s child pornography law.

Despite that conviction, Kurita continued publishing on the company’s Manga ONE platform for nearly six years. He also published the series Daten Sakusen (Operation Fallen Angel) under the pen name Shoichi Yamamoto.

This came to light after the latest court ruling against the author on Feb 20, 2026, where he was asked to pay damages worth 11 million to the victim.

In a formal statement, Shogakukan admitted failures in its editorial decision-making and verification process that allowed the appointment to proceed.

The editorial department issued an apology to the victim, readers, the series’ illustrator and other creators for betraying their trust.

The announcement triggered significant backlash across social media platforms, with readers and fellow creators serializing on Manga ONE publicly questioning how a previously convicted offender had been permitted to continue publishing on the platform for years.

Criticism also intensified over the reported involvement of an editor in settlement discussions between Kurita and the victim in 2021, including participation in a messaging app group chat during negotiations over compensation and conditions.

Read more at the article, which tells how repellent the crime he committed was against the girl he attacked, and no sane person should have to read his mangas as a result, and definitely not spend money on them. Here's also what Anime Corner says:

Furthermore, it was revealed that an editor at Manga ONE mediated between the individual who was assaulted and Kurita in a LINE group chat while Daten Sakusen was still ongoing. This editor is believed to be Takuya Narita, who allegedly proposed getting a settlement agreement notarized that would compensate the individual with 1.5 million yen (~$9.6k) if they did not go public about the assault and withdrew their appeal against Kurita’s manga resuming.

The editor is believed to be Narita due to a purported post from the individual who was assaulted, as reported by Japanese outlet ITmedia, and Narita’s confirmed role as editor of both Daten Sakusen and Jojin Kamen, per official X posts. (However, manga can have multiple editors.) Kyodo (via Mainichi) and Sankei report on the Manga ONE editor’s suggestion to get a document with the above terms notarized, but do not name Narita. The distribution and serialization of Jojin Kamen has now been halted.

Obviously, it's shameful the publisher would cover up a crime involved, and why waste so many trees for the sake of a story concocted by a real life monster? It's unbelievable how many irresponsible and incompetent employees there are in the entertainment industry. Some may already have read about the sexual abuse indictment Hollywood actor/director Timothy Busfield is now facing, and it was reported that Warner Brothers did not lead a convincing investigation of their own into the matter, which gives reason to believe they too were trying to cover it all up. And to think that WB was trying to get themselves sold to Netflix, the company that broadcast a smutty arthouse film called "Cuties"! Now that it looks like they've been sold to Paramount/Skydance, we can only hope somebody will make a convincing effort to clean up their conduct.

And of course, even today in Japan, they too, lest we forget, still have a lot of improvements to make, including their vetting process, which could include making sure a company's contributors don't have a severe criminal record, and if they do, they must distance themselves from the offenders immediately, without hesitation. Shokagukan, for all we know, might end up facing financial damage from this scandal, yet another example of how sexual crimes still aren't opposed properly in the Japanese system.

A case made for why GNs can be great for reading instruction that's spoiled by mention of a propaganda item

Education Week's writing about why graphic novels can be good for reading instruction assignments. There are some interesting points made, but towards the end, the impact is seriously dampened by the mere mention of a propaganda item that distorted history for woke political brownie points:

If the goal is for them to be familiar with the story or examine themes, they can read the graphic novel version. Some Recommendations include Brave New World: A Graphic Novel by Fred Fordham, Anne Frank’s Diary: The Graphic Adaptation by David Polonsky and Ari Folman, Romeo and Juliet and The Odyssey by Gareth Hinds, George Orwell’s 1984 by Matyas Namai, and Bea Wolf by Zach Weinersmith.

Well gee, this certainly isn't doing any favors by citing leftist animator Folman's questionable GN about Anne Frank as though that's perfect for schools and education. What's the columnist thinking? I'm sorry, but that spoils this whole essay, when there's bound to be other, more historically accurate GNs about Frank and other WW2 Holocaust-related subjects around. Even if the subject is obviously adult to the point where parental guidance would be needed, that Folman's GN exploits the misfortune of a young girl for the sake of LGBT propaganda and other forced smut ruins everything.

One of the worst problems with mainstream news writers like the one who wrote the essay for Education Week is that they always go almost entirely with the easiest of choices and examples, and never do deeper research to see if there's anything more challenging that could be brought up instead. Anybody who's not willing to sit back and determine if a comic like Folman's really makes the best recommendation for educational purposes has no business being in the school management system.