Jack Kirbys visions were allegedly an inspiration for Riot Games' League of Legends characters

A guest writer at the Washington Post, who co-created League of Legends and co-founded its studio, Riot Games, brought up the history of the late, great Jack Kirby, now on exhibit at the Smithsonian, apparently for telling everybody how his work inspired their video game creations, and making a case against artificial intelligence:

The man behind this image is Jack Kirby, a Jewish comic artist who emerged from New York’s Lower East Side in the 1930s to become one of America’s most prolific and imaginative creators.

Since Kirby died in 1994, the worlds he envisioned have continued to grow in popularity, accounting for many of the biggest box-office hits in the 21st century. Kirby pioneered the visual language of modern superheroes — from Captain America to the Incredible Hulk to Black Panther — and revolutionized world-building itself. Today, any creator designing characters or imagining universes is likely building in part on Kirby’s vision.

There's something rather hypocritical for a newspaper that's hostile to Israel, the land of Kirby's ancestry, to be bringing up his ethnic background if they don't genuinely respect it. Chances are they don't have respect for Iranian dissidents either. That aside, it's supremely silly how the writer claims Kirby's worlds have skyrocketed in popularity when sales today make clear it's anything but that, and the Eternals film was a box office dud. Based on this, I hesitate to think what could become if the New Gods and even the Demon, some of Kirby's creations for DC, were adapted to live action.

Yet, unlike George Lucas, Walt Disney or even Stan Lee (his longtime collaborator at Marvel), Kirby’s name remained largely unknown outside comic fandom. Few among the tens of millions who watched “Deadpool & Wolverine” in 2024 knew that the X-Men universe was co-conceived decades earlier by this young artist.

Kirby may be finally getting his due.

“Jack Kirby: Heroes and Humanity,” the first major exhibition of his work, just wrapped up its run at Los Angeles’ Skirball Cultural Center. A documentary, “Kirbyvision,” is underway. New York City last summer named a Lower East Side street corner after its native son, and several of his comics have joined the permanent collections at the Smithsonian Institution and the U.S. Holocaust Memorial Museum.

His life story feels especially instructive now. As creative fields examine the disruptive potential of artificial intelligence, Kirby’s art exemplifies the unmatched power of human imagination.

That's the guy's reason for bringing him up? Because if he's not interested in researching and telling everybody how Marvel under Joe Quesada destroyed all of Captain America's potential beginning in 2002, along with what made other creations of Kirby's work, then what good does it do to make points about how AI is no substitute for human-illustrated art? I'm sorry, but this is all cheap stuff, that once again misses a chance to inform everyone what went wrong in the past quarter century.

At Riot Games, we originally built video games to deliver bombastic fantasies that embody specific archetypes or play experiences. Over time, we faced the challenge of retroactively weaving these diverse creations into a single, coherent world, worthy of storytelling.

It’s no small task to make a sad mummy, a star-forging dragon and a pyromantic schoolgirl feel as though they belong in the same universe. Comics have long solved a similar puzzle, uniting a Norse god, a billionaire inventor and even a talking raccoon and sentient tree into a believable ensemble. In that sense, our process drew from Kirby’s legacy: build boldly, then discover the connective tissue, the humanity and purpose that binds characters into something greater than the sum of their parts.

Kirby and his collaborators pushed us to treat narrative not as an accessory but as a responsibility, convincing us that the rudimentary characters in our early game could inhabit a universe rich enough to connect people across cultures and generations while asking timeless human questions.

Oh, another discussion of responsibility, without harkening back to where none was on display in the early 2000s, all shortly after September 11, 2001, when Quesada - and Bill Jemas - not only put Captain America in the Marvel Knights imprint, they even put him in a Blame America scenario. That was unacceptable, went against what Kirby stood for, and now, a quarter century later, all some technologist wants to talk about is how Kirby served as inspiration for video game designs. Sure, it can be great to draw inspiration from Kirby's visions, but if they really respect him, they wouldn't ignore just how bad use of Kirby's creations back in the comics became after the turn of the century until now. IIRC, the Knights imprint wasn't as monumentally successful as some apologists might make it out to be, recalling Cap's run under that imprint lasted possibly less than 2 years, and then the imprint label was dropped, but the damage had been done, and now it's gotten to the point where race-swapping propaganda has all but forced Steve Rogers out of the role. And that story where Cap was written saying "hail Hydra" is another repulsive moment in terrible comics history now soiling Kirby's creation.

Creative people are told AI will replace them. But AI has no lived experience. It can mimic and remix the raw material of human creativity, drawing on patterns it did not originate. That’s why its work, however dazzling, reflects the archive it was trained on rather than a life it has lived. It cannot create from personal memory, conviction or emotional truth, the forces that Kirby transformed into art. In the AI age, his legacy reminds us that while technology may assist the creative process, the most enduring universes are born not of algorithms alone but of human imagination, alive with the sparks that only come when people create together.

Yes, but this doesn't excuse how abysmal artistic merit's become in over 2 decades, and there's decidedly no excuses for a computer game producer obscuring that either. And if human imagination's going to be corrupted, can you expect AI to improve upon that?

I also looked at the reader comments, and for example, we have:

It’s hard to read any article about Jack Kirby that doesn’t reference how ill-treated and under-appreciated he was. He was constantly shuffling from company to company, most of which exploited his talent and failed to enable him fully. What we got was spectacular, but there was so much more that just wasn’t supported.

Yet none of that is as troubling as how Marvel took his and Joe Simon's creation, Capt. America, and exploited Steve Rogers for the sake of apologia for Islamic terrorism and Blame America propaganda. Speaking of Simon, he later reportedly drew a picture of Cap socking Osama bin Laden, and that's all buried today, 15 years after his own passing. Why, even Simon's hardly known outside comic circles by today's standards. Maybe even Will Eisner's in the same situation. Yet none of that matters to the Riot Games manager? For shame.

Another comment made a good point, but simultaneously risked contradicting it:

I watched a video essay recently talking about how Japanese Manga has surpassed American comics in most ways, because American comics are mostly locked in and unchanging. Spiderman can go on new adventures, his villains can come and go or rotate, but his story can never end. Popular characters can be killed off, but will be brought back, reducing any impact on the readers.

It had some good points, even if it ignored that popular and long running Manga titles do the same things at times, but they do tend to be the vision of the creator and last only as long as they are willing to work on them.

One of the strengths of American comics, I think, is that a new writer/artist can take an existing character and re-imagine them. The X-Men weren't as popular as they would become until Chris Claremont's epic run with them, for example.

Kirby is a titan and probably more impactful than Stan was.

Just what definition of "reimagining" would that be? Because there's only so many politicized "reimaginings" going on today at the expense of classic creations, whether it's race/sex-swapping or forcing LGBT and Islamic propaganda down the readers' throats, and the aforementioned Iceman stands out as a X-Men cast member who was a big victim of such propaganda. As for the point that manga can also emphasize resurrections, a point that should be made is that the problem with mainstream USA comics either killing off characters or resurrecting them is that they're not doing it organically or altruistically, but for the sake of publicity, and even worse is when a character who's on the good side is forcibly turned into a monster, as seen with 2 women in both Identity Crisis and Avengers: Disassembled, Jean Loring and Scarlet Witch. Must I point out the latter is a Kirby creation? One more reason why the alarmingly forced approach to her in WandaVision and Dr. Strange in the Multiverse of Madness is sickening. So we have all these situations that cropped up since the 90s where heroic characters are killed/villified in contempt of the original visions, while only villains are allowed to be resurrected, or worse, somehow become heroes instead. That may not be so common now, but the damaging impact of such tactics is still proving hard to shake off.

All that aside, this does make a vital point that, if mangakas can write about resurrections, then it's not inherently wrong for USA comics to do the same, provided the goodies and their civilian co-stars are allowed the same privileges as villains could disturbingly get.

Here's one more reader comment:

I wrote about how Hitler did not start the hate against you know how but this is 2,000 years old but the media like WAPO want to pretend that Hitler started all this giving cover to religion to continue to preach their hate & WAPO censored it - let's see if this revised version makes it in

I assume this alludes to Islamic antisemitism, and it's already old news neither Marvel nor DC want to seriously tackle the issue, recalling how the former even went so far as to preach for the sake of the Religion of Peace with a race-swapped Ms. Marvel who's a Muslim, and the latter did the same with a Muslim Green Lantern, in a storyline that was also built on making "infidels" look bad. And all this at the expense of the Jewish community that created the comics now exploited for the sake of woke propaganda. Well if the Wash. Post censored any statement on that, go figure, they're still as repellent in their leftist politics as before.

With that told, much as I'd like to credit some video game producers for drawing inspiration from famous artists, their failure to defend classic creations from abuse spoils everything. Nor do they make a case for artistic merit, and why it's bad to resort to publicity stunts as Marvel/DC have been doing for quite some time. If how modern comics are written/illustrated doesn't matter, it's pointless to claim they're fans of Kirby, one of the best artists who brought about what they claim to be inspired by.

Jeff Lemire turns out another horror-thriller, and a deconstruction of a DC superhero

Comic Book Club Live's announced Canadian writer Lemire is foisting yet another horror tale upon comicdom, as if we never have enough of such an overrated genre as it is:

The news was announced via Lemire’s blog, where he broke down the deal further noting that it’ll kick off with a three volume supernatural detective series with artist Teddy Kristiansen titled Mr. Oblivion.

Per Lemire, “Mr. Oblivion follows Marty McCabe, who was once the world’s greatest occult detective, Mr. Oblivion, but now, twenty-years later, sells real estate in the suburbs and struggles with middle-age, marriage, and a teenaged daughter. But, when the demons of his past return (literally), Marty must once again put on the fabled Merlin Mask to save his family, even if it eats his soul alive.”

No wonder this writer's one of plenty modern ones who've never impressed me. And if you want to know what Lemire's preparing for mainstream, he even announced 2 months ago he's writing a new take on Firestorm:

The series will launch in April and it’s been a real labour of love for the whole creative team. My editors Andrew Marino and Marquis Draper are two of the biggest Firestorm fans in the world and when I told them I also loved the character we knew we were going to swing for the fences with this one. The original Firestorm series told the story of Ronnie Raymond, a college student who was fused with his eccentric professor, Martin Stein, in a nuclear accident. Together they merged into the flame-headed hero, Firestorm. Our book will be both a deconstruction of the character and a love letter to his past.

If you’ve never read a Firestorm comic before, I’ve written the first issue as if it were the pilot episode of a new series, so it’s totally new reader friendly. And if you are an old school Firestorm fan (they exist, I swear!) the book is loaded with Easter eggs and nods to the past too.

Forget it, when somebody says they're deconstructing, that's pretty telling, because deconstruction became the norm in the past quarter century, and that's why calling this a "love letter" is no more convincing than to say Identity Crisis was one, recalling Brad Meltzer and possibly other DC staff called that repellent 2004 miniseries a "love letter" to the Silver/Bronze Age years ago.

If Lemire's new Firestorm series stars Ronnie Raymond though, that's pretty amazing they're willing to use the original star, considering that in 2004, they tried to race-swap Ronnie with a Black character named Jason Rusch, in an early example of social justice diversity pandering. And it ultimately led nowhere. Even today, they may have only partially jettisoned emphasis on the SJW-themed character, and this may also be the case when it comes to their race-swapping of the Atom and Blue Beetle. But, that only proves they're still making a joke of themselves, as is Marvel with some of their own diversity-pandering creations. And when they do that, it only robs said creations of agency, because they weren't created as their own protagonists, nor were they developed organically as successors for what was originally a role starring a white protagonist.

Lemire's one of quite a few writers working for DC/Marvel today who can't be taken seriously.

Would actor Daniel Radcliffe really make a suitable star for a Wolverine movie?

ComicBook interviewed UK actor Daniel Radcliffe, known today for playing Harry Potter in 8 movies, and he mentioned a rumor that sprouted on the web about whether he'd play Wolverine:

Audiences were clamoring for you to pick up the mantle of Wolverine. Even for a split second, was that ever a consideration?

It was not. It was never real. It was a very flattering internet rumor. I was very happy about it, but it was never suggested in any kind of way by anybody with any power to make that happen. And, honestly, you would be stupid not to consider something like that, but if they do other Wolverines, being the person who follows Hugh Jackman is not on my bucket list for anything. For any role of his, particularly the role he has made the most iconic of his career, I am happy not to be doing that and let him keep doing it.

Are you a superhero guy? Would you consider joining the MCU or DCU?

I am so out of the loop. I feel like I don’t know what cycle we are on of the Marvel movies, and I have some catching up to do if I ever end up on one of them. But, yes, I am certainly not averse to it. I would never rule anything like that out. But, also, I am not necessarily clamoring to be in it or seeking that. I am lucky that I can judge any job by the quality of the script. So, if a script came in that was exciting, different, weird, and cool, then I’d be up for it no matter what it was.

He's out of the loop in more ways than one. Let's consider Radcliffe threw Potter author J.K Rowling under the bus after she objected to men identifying as transsexual entering women's bathrooms, and, like countless left-wing newspapers, obscured that she was a sexual assault victim herself, refusing to recognize that she has moral authority to speak on these issues. Based on that, I don't think Radcliffe would've made such a great actor for playing Logan, because he's hardly deserving of the role after betraying the novelist who created the books that led to his now famous role in film. In fact, look who's talking about judging by the merit of a script - the same man who won't judge by the merit of Rowling's statements, let alone serious real life science.

As a result, it's decidedly good if Radcliffe's not being considered for a role in Marvel movies, let alone DC movies. Besides, chances are he wouldn't care how woke they became, based partly on what politics he goes by, and as a result, what good does it do to say he can judge by script merit?

It's been over a decade, and Marvel still sticks with the Iceman-as-gay storyline

Comic Book Club Live posted a preview for yet another story starring Iceman of the X-Men subtitled Omega, and there's a sad clue that what was forced upon Stan Lee and Jack Kirby's creation Bobby Drake in the past decade by the terrible Brian Bendis still remains "canon" even now, much like the repellent Gerard Jones' out-of-the-blue retcon to Roy Thomas and Jerry Ordway's creation of Obsidian in the pages of Justice League during the mid-90s:

THE INDOMITABLE ICEMAN! Bobby Drake is ready to reach his true Omega potential! From coming out to helping terraform the entire planet of Mars, Bobby’s had a big year and it’s only up from here! You don’t want to miss this beloved four-part infinity comic, now for the first time in print!

Some could say things like this don't just simply happen, they're made to happen. Especially when nobody calls for a clear-cut boycott of Marvel/DC if that's what it takes to make clear these retcons are unacceptable. With an advertising blurb like that, it's all you need to know C.B. Cebulski's not willing to move away from Bendis' desecration of Lee/Kirby's creations, and serious Marvel/DC fans would do well to stay far away from whatever they have in store with this new Iceman miniseries.

Thief who stole old back issues from Florida university gets jailed

The Tallahassee Democrat announced a man who'd stolen comic back issues from the Florida State University 6 years ago will be imprisoned for his crime:

A comic book bandit, accused of stealing and selling thousands of rare comics from Florida State University six years ago, was declared guilty by a judge Feb. 26 and sentenced to prison.

Todd Peak, 43, will serve a year and a half in prison, followed by 10 years on probation, after taking a plea deal that spared him a possible 30-year sentence, according to court records.

He also must pay back nearly $70,000 in restitution to FSU, among others. [...]

Peak, a former security guard at FSU's library, was arrested in 2020 on grand theft and related charges after more than 5,000 comics disappeared from a collection in FSU’s Special Collections & Archives in Strozier Library.

He purloined from a rare collection predominantly from the 1950s through the 1970s. Publications include those by Marvel Comics, DC Comics, underground publishers, foreign language titles and pulp magazines.

Police said Peak trafficked the comics in online forums and in the backroom of a Crawfordville comics shop where he sold the stolen items.

During the investigation, a small sample of 38 comics were found in the library, but thousands were still missing.

WCTV also notes:

Library staff first discovered the theft in February 2021. The Ervin Collection contains more than 4,000 comic books from various publishers spanning from the 1950s through the 1970s. FSU notified the public about the theft in September 2021. That’s when a comic book dealer came forward and raised suspicions about Peak, according to arrest records.

Peak was one of only four people at Strozier with a key to the library’s Special Collections area, which is in the sub-basement of the building behind a padlocked fence.

I think this is another reason why back issues should probably be kept more at museums than libraries, though as I fully realize, even museums are not completely safe from theft, and note that the felon betrayed the trust given to him with the keys to the library storage. This makes another case where somebody should be ashamed of only seeing dollar signs in old back issues, but not the value of reading. Let's hope this Peak takes the time to think over his offenses while behind bars.

A reader of the LA Times make a peculiar comparison of social media to comics

A letter writer to the Los Angeles Times answered a topic about why children shouldn't have access to social media,

Guest contributor Jessica L. Schleider makes a convincing argument that blaming social media for children’s problems is an oversimplification of the issue (“If social platforms are harmful, don’t just ban kids. Regulate the harms,” Feb. 25).

This isn’t the first time popular media has been illogically blamed. In 1954, psychiatrist Frederic Wertham published “Seduction of the Innocent,” a book claiming comic books led to juvenile delinquency. Part of his reasoning? He’d seen boys in reform school reading comic books, a classic example of putting the cart before the horse.

The psychiatric community was largely not impressed with such a simplistic explanation and regarded Wertham as a crank. Marvel Comics editor Stan Lee recounted that Wertham “said things that impressed the public, and it was like shouting fire in a theater, but there was little scientific validity to it. And yet because he had the name ‘doctor,’ people took what he said seriously, and it started a whole crusade against comics.”

I think this is a very absurdly naive comparison and perspective, since social media isn't just one company or publication like some comics publishers, and there have been children over past years who were influenced by the Islamic State via social media. When any kind of modern medium is exploited for pushing evil ideologies far more than comics of the past century ever did, how can you make an argument that social media has no downside?

Furthermore, social media's done little to improve the dire state of comicdom in modern times artistically, and practically made things worse, because of all the cancel culture that sprang up in the past decade, and even today, it's not like it's entirely improved. One more reason it may be best not to allow underage children to use social media, because what if they end up becoming part of the problem? There've been pollings indicating that many USA residents favor barring children from social media until they're 16, and they certainly should be taught good manners in addition before they can go online and make use of them. Otherwise, they wouldn't make good comic readers any more than good social media posters.

IDW adapting Japanese Hello Kitty franchise

Variety announced IDW, doing very badly in terms of artistry today as in sales, will be adapting the Helly Kitty franchise from Japan into new comics, penned by a wokester:

New “Hello Kitty” comic books will soon launch as part of a collaboration between Japan’s Sanrio and comics giant IDW Publishing.

The new multi-title partnership will begin with the debut of the “Hello Kitty: Hello World” comic book series July 22 in connection with San Diego Comic Con.

Per Sanrio and IDW, the new comic book is described as “a classic and lovable depiction of Sanrio’s characters as Hello Kitty and Friends go on a world tour to solve a riddle. As they discover new riddles around the globe, they will also meet new characters in every single issue!”

The “Hello Kitty: Hello World” series is written by Mariko Tamaki (“This One Summer,” “Zatanna: Bring Down the House”) and animated by artist Cody Lemieux (“Despite, Despite, Despite,” “Gnome Granny”).

Following the launch of “Hello Kitty: Hello World” this summer, more “Hello Kitty” comics and some “crossovers” will be released from IDW Publishing in 2027.

The Hello Kitty brand has exploded in popularity since Sanrio first introduced the character in 1974, spawning an ever-growing merch line and multiple media projects, including the upcoming feature film from Warner Bros. Pictures Animation and New Line Cinema, set to release in July 2028.

If memory serves, Tamaki is the same writer who once turned out a Harley Quinn tale in an alternate DC imprint where Poison Ivy was pointlessly race-swapped? Coupled with how unreliably woke IDW's become, that's why it'd be better not to bother about this western adaptation. As for this new cartoon they speak of from Warner Brothers, just recently having been purchased by Paramount Skydance, on which I hope to comment in time, we can only hope that'll at least not turn out to be something dumbed down like other PC productions they've turned out nowadays. But something coming from IDW, that's certainly not encouraging, and there's every suggestion this new take on Hello Kitty will be a bad omen, mainly because former Marvel editor Heather Antos is now working for them, as IDW's inexplicably willing to employ former workers for mainstream no matter how poor their record is.

2 more crossovers coming from Marvel this year

Marvel simply refuses to cease with the endless flood of company wide crossovers, and IGN in turn refuses to take any kind of objective view of how negatively this affects their now sorely lacking creativity:

Marvel Comics took to the Comics Pro retailer convention to shine a spotlight on two of its biggest 2026 storylines, Avengers: Armageddon and Queen in Black. Both of these crossover events will help to define the ongoing direction of the Marvel Universe in the latter half of 2026.

First up, Avengers: Armageddon is a new limited series from Captain America writer Chip Zdarsky and artists Frank Alpizar and Delio Diaz. Aramageddon is being compared to 2004's Avengers: Disassembled in terms of being a major watershed moment for the Avengers franchise that will completely transform Earth's Mightiest Heroes.

Armageddon builds on the fallout of One World Under Doom and ongoing story threads in Captain America and Wolverine: Weapons of Armageddon. As the world continues to reel from Doctor Doom's brief reign, Red Hulk decides to claim the kingdom of Latveria for himself. That sparks a global conflict that draws in the Avengers, Fantastic Four, and Wolverine.

...Meanwhile, Queen in Black is an event spinning out of the pages of Al Ewing's Venom series. [...]

Yup, a crossover based on the writings of one of the wokest writers of the past decade. And two crossovers is simply 2 too many. That this is being compared to one of the worst productions of Brian Bendis - one that degraded the Scarlet Witch - is telling. No matter how this turns out, it's not worth wasting money upon, and its being developed as a crossover at this point is a most serious problem, because of how as time went by, crossovers served to destroy creative autonomy and stand-alone storytelling. This is one of the main reasons Marvel and DC will never recover from the damage crossovers have resulted in long term, so long as they continue to stick with them so casually.

Of course comic readers can read more than just comics

A writer at the Blackshear Times spoke about a political argument he had with some online contact, who seemed to believe comic readers limit themselves almost entirely to that very medium, and have no interest in anything else:

You see, my worthy opponent informed me I live in “comic book fantasyland.” In a subsequent response they indicated I should stick to comics, because I “can’t understand political narrative.”

I can only guess they connected me with comics due to my profile pic, which features the heroes of a publication a friend and I successfully funded on Kickstarter last October. A brief online search of my name might also connect me with a handful of comic related websites and publications. Maybe they have even read my occasional columns about the comic book medium right here in this paper.

They probably thought they had scored some searing takedown, based upon a quick, surface level assessment of my online persona.

You see, the implication is that if you love comics you’re stupid. And if you aren’t stupid, then you are somehow immature or developmentally stunted.

It’s an old insult, as weak and tired as every other lame jab thrown at readers of every stripe no matter their preferred publication (books, newspapers, comics, etc.), most often by insecure people afraid someone knows more about something than they do.

They have good reason to worry too, because comic books lead to actual books. Now, my accuser probably hasn’t bothered with books in years, but when I look at my bookshelves I’m pretty content with what I see. There are plenty of titles which are close kin to comics; Conan, Tarzan, King Arthur and others, but there is also a lot of history, science, philosophy and biographies.

I myself have some Dungeons & Dragons/Dragonlance novels around the house written by Margeret Weis and Tracy Hickman, from a time when PC wasn't being forced upon the franchise like it's been today. And I've also got books about real life subjects at home too, including a book or two by UK writer Melanie Phillips, and also the late Barry Rubin. (Update: my household's also got a book about French poetry by Kenneth Canfield, if poetry matters.) I've also read Harry Potter books by J.K. Rowling, and I've even recently gotten hold of a book by James Kakalios titled The Physics of Super-Heroes, to see what he has to say about the differences between fiction and real life when it comes to sci-fi writing in comicdom. And that just shows how, whether before or after, of course there are comics readers who do take interest in plain-text books. Why, even books with illustrations obviously count to boot, and I read some of Beatrix Potter's children's books like Peter Rabbit and Jemima Puddle-Duck in my youth too, along with Dr. Seuss. If those aren't stupid, why do some anonymous creeps think comics are? Do they also think the same about animation, even Japanese?

Another sad thing about people who put down comic books, which has plagued the medium's reputation for decades on end, is that they couldn't possibly care less if Superman and Green Lantern had remained in the grave after the 1990's Doomsday battle and Emerald Twilight, or if Identity Crisis had remained a full-fledged status quo, or that the Avengers storyline making Hank Pym look like an abuser remained stuck for a long time, that Scarlet Witch was made to look horrific as a result of Disassembled, or that Spider-Man and Mary Jane Watson remain kept apart for nearly 2 decades now. Such people, without a doubt, have no appreciation for even the informative subjects that were examined in comicdom over past decades, like how drug abuse and racism are bad, and there were a few storylines that made points why sexual violence is wrong too. Could we perhaps guess why?

In the end though, some of these anonymous posters are people who're just looking for cheap, petty excuses to tell somebody else, "I don't like you", and that's very sad, because it does virtually nothing to improve a bad, divisive situation, and refuses to recognize that being a comics reader doesn't automatically prove you're "uneducated". Those who read comics are more than perfectly capable of reading plain-text books as well, including many tackling serious subject matters that comics are just as valid a medium to explore them in as well.

Czech comic wins this year's Muriel award

Radio Prague International interviewed Pavel Korinek, head of Czechia's comics academy, about a recent story called Oskar Ed by Branko Jelinek, which won the year's Muriel award:

For those who haven’t seen the book, who exactly is Oskar Ed? Is he a fictional character or something more personal?

"Oskar Ed is a fictional character who is in many ways typical of Branko Jelinek’s work. He is a recurring figure, though not in the sense of sequels or traditional series volumes. Rather, Jelinek works with Oskar Ed almost like an actor, a character he places at the centre of different graphic novels."

"In this book, Oskar Ed is a nearly middle-aged man struggling with family issues and dissatisfaction at work, a corporate job that doesn’t truly fulfil him. He is no longer a young man. He is haunted by his insecurities and by his rather precarious personal situation." [...]

And finally, is there a chance that Oskar Ed will reach English-speaking readers? Do you think it could eventually be translated into English?

"Hopefully, yes. Previous books featuring Oskar Ed have already been published abroad — in France and in Poland, for example. The second book was translated into several other languages as well."

"I know there have been attempts to publish Oskar Ed in English. At one point, the well-known alternative comics publisher Fantagraphics in Seattle was considering it."

"I hope that the four Muriel Awards won by the latest Oskar Ed graphic novel will serve as another reminder that something truly exciting is happening in Czech comics, and that English-speaking readers may soon have the chance to encounter Oskar Ed in translation."

I do think drama-based comics like these are what parents should encourage their children to read, certainly far more than action-adventure comics in mainstream today, and it's about time families did give comics like these a go if they really want their children to have something sophisticated to challenge their reading skills. So when will that happen? Exactly why I hope some publisher in the USA takes up the challenge of translating it into English, and also remains faithful to the comic's Czech cultural background.