Thirty-six questions. Six answers. One random number generator. Welcome to Robot Roulette, where creators roll the virtual dice and answer our questions about their lives, careers, interests and more.
Joining us today is Ethan Rilly, creator of the award-winning series Pope Hats.
Now let’s get to it …
“I don’t mean to suggest that there isn’t work to be done of course, but we’ve hit a point where the lie espoused by the industry gatekeepers, that ‘there isn’t an audience for kids comics’ or ‘there isn’t an audience for girls or womens comics’ has finally been put to rest. Oh, the gatekeepers hung onto it as long as they could, ‘webcomics aren’t comic books’ or ‘manga aren’t comics’ or whatever nonsense they dug up. They’re still espousing it to some degree or another–I particularly liked this article by Heidi MacDonald on why superhero publishers will never ‘get’ women–but it’s demonstrably false. Comics for kids sell now, the Lego Ninjago comic has a 425,000 copy first printing, a number that dwarfs most others in comics… and DC had that license at one point btw. Comics for girls (and boys) like Smile continue to sell very well. Despite the gleeful hand rubbing over the demise of manga, it still sells quite well, thanks. And the internet…? The internet is home to a fantastically diverse array of cartoonists either making their living or a significant chunk of it from the online serialization of their work–and they’re coming for print too. They are COMING FOR PRINT.”
–Comics retailer and blogger Chris Butcher, reacting to the news that Smile by Raina Telgemeier took the No. 1 spot on The New York Times’ bestselling graphic novels list, but also providing follow-up commentary on the essay by Heidi MacDonald that Brigid quoted earlier this week. It’s a great piece by Butcher; go read the whole thing.
First of all, we need to think up some new terms to distinguish journalism done via comics — as practiced by, say, Joe Sacco — from journalism about comics. Suggestions gleefully accepted!
Whatever we call it, sequential-art reporting is definitely coming into its own, and we have the links to prove it. For starters, here’s a video of the Comics and Journalism in a New Era panel at Comic-Con International, moderated by Publishers Weekly comics editor Calvin Reid and featuring a stellar lineup of Susie Cagle (who
has been involved in as well as reporting reported* on Occupy Oakland), Andy Warner, Stan Mack, Ed Piskor, Dan Carino and Chris Butcher.
Organizations | Tom Spurgeon reports that The Hero Initiative has now received close to $3,000 so far due to campaigns asking those people who watch Marvel’s The Avengers to donate money to the organization. The Jack Kirby Museum, meanwhile, reports it has received $1,300 from Avengers-related giving. [The Comics Reporter, The Kirby Museum]
Conventions | Chris Butcher, co-founder and director of the Toronto Comics Art Festival, reports that about 18,000 people attended this year’s TCAF-related events: “TCAF 2012 was the most ambitious festival yet, and my most ambitious personal undertaking. With more off-site and lead-up events than ever before, more partnerships than in previous years, an additional day of programming, and more than 20 featured guests, I worried in the weeks leading up to the show that perhaps we’d bit off a bit more than we could chew. Luckily through the talent and support of some wonderful folks we had varying levels of success on every front, and as always, lessons were learned and we think 2013 will be even stronger.” [Comics212]
The fine folks at We Love Fine T-shirts are holding another design contest, this time featuring Scott Pilgrim. And the judges this time are none other than Scott Pilgrim’s creator, Bryan Lee O’Malley, and his friend Chris Butcher, manager of the Beguiling and director of the Toronto Comic Arts Festival. The grand-prize winner could win up to $2,500.
You can find out more about the contest after the jump.
[Note: this post was assembled by both Tim O'Shea and JK Parkin]
This is our final post for our big birthday bash, and what a post it is. No matter how much stuff we line up, people we interview, etc., there are still tons of folks we like to hear from and include in our giant New Year’s/anniversary/birthday activities. So, as we have in past years, we have asked various comics folks what they are excited about for 2012 in comics–something they aren’t working on and something they are.
There’s a lot of great stuff here–hints at new projects and even some downright announcements. Our thanks to everyone this year who responded!
I’m most anticipating the 30th Anniversary of HEROES CON (June 22-24, Charlotte, NC) . For any convention 30 years is an amazing run, but the fact that Shelton Drum and his extended family have put this show together every year with nothing but blood, sweat and tears is flat out super heroic.
On the personal front, the challenging and exhilarating ride that’s been Loose Ends will come to a close with issue 4. It’ll be bittersweet to send our child off to into the real world but I can’t wait for you guys to see the work Brunner & Renzi are doing.
I’m also super excited to dip my own toes into the Mignola-verse with the BPRD: The Pickens County Horror [March 28, 2012] and to read the end of Jason Aaron & RM Guera’s Scalped, which is my favorite series in years.
This sounds politic, but it’s genuine: what excites me about comics in 2012 is what’s exciting every year, the work of the talent. Seeing what the best are up to and how the up-n-comers have grown as artists and writers. In the new year, I’m also excited about illustrating several books and covers that feature my favorite Avengers.
San Diego 2011 was all about playing the game, about recognizing that Comic Con isn’t gonna be what any of us wants or needs or cares about, it’s instead going to try to be a little bit of what everyone who comes there cares about. All the starfuckers just there to see someone who was on TV one time, all of the PR flacks looking for the next big thing or trying to sell us the next big thing, the toy makers, the funny t-shirt hawkers, the deep discounters, the booth-babes, and even the comics folks—this is the year we all just sucked it up and realized that we were all gonna be in this together, and it’s gonna be in the same old San Diego convention centre in the same old gaslamp, and we’re all just gonna get used to it. So we did. We’re all playing the game now.
–from retailer/blogger/TCAF organizer/Wallace Wells inspiration Chris Butcher’s excellent report on this year’s San Diego Comic-Con. It’s an entertaining blend of photo parade, personal anecdotes, and astute analysis of the comics presence at the show.
Butcher contrasts San Diego with other shows he’s worked at “where 100% of the audience was potentially interested in 100% of what I was selling,” as opposed to even a good year at San Diego, where most attendees are there for something other than buying comics, let alone the specific comics and comic art he was selling as booth manager for Street Fighter publisher UDON and representative of Toronto retailer The Beguiling’s original art sales wing. He also notes that no single book garnered “book of the show” accolades of the sort that previously greeted such works as Blankets, Kramers Ergot, and the one-volume Bone, and that even publishers with a killer suite of products and announcements walked away from the show playing second fiddle to the usual churn of Hollywood advance buzzmaking and Marvel and DC announcements (which were themselves fairly subdued this year).
But! Butcher says it was the best San Diego he’s been to in a while, which is reflective of what I’ve heard from most of the comics-centric attendees this year. Whether it’s due to Hollywood’s lowered expectations for the show and the consequently lessened obnoxiousness from that aspect of the show; the establishment of offshoot events dedicated specifically to comics; recalibrated expectations and/or wholesale retreat from the con by some of its more outspoken alternative-comics detractors; or simply renewed attention to its still-fine line-up of comics publishers, retailers, creators, and programming; the show went over better this year among comics folks than at any time in recent memory, lack of a “book of the show” be damned.
Welcome to another edition of What Are You Reading? Our special guest today is Chris Butcher.
Butcher is the manager of The Beguiling in Toronto and founder of The Toronto Comic Arts Festival. He’ll be at the UDON Booth #5037 and The Beguiling Original Art Sales Booth #1629 at San Diego Comic-Con this weekend.
To see what Chris and the Robot 6 crew have been reading, click below …
The latest episode of Robin McConnell’s indispensable comics podcast Inkstuds is a fun one: It’s a critics’ roundtable on the best comics of 2010, featuring Chris Butcher, Bill Kartalopoulos, and Tucker Stone. It’s a rare treat to hear any of these guys talk at length about great comics: Tucker is the busy manager of Brooklyn’s Bergen Street Comics and divides most of his writing time these days between film, music, and kicking the crap out of the latest Wednesday shipment; old-school comics blogospherian Chris has mostly moved away from criticism in favor of running Toronto’s beloved Beguiling comics shop and organizing TCAF; and Bill’s thoughts on comics are generally reserved for the lucky few who take his classes at Parsons, sit in on the panels he organizes and moderates for SPX and BCGF, or visit the comic art exhibitions he curates. To hear the three of them bat around the likes of Joe Sacco’s Footnotes in Gaza, Brecht Evens’s The Wrong Place, Dash Shaw’s Bodyworld, Blaise Larmee’s Young Lions, the comics of Michael DeForge, Charles Burns’s X’ed Out, and Gilbert and Jaime Hernandez’s Love and Rockets: New Stories #3 is to hear three great comics minds pull apart what worked — and what didn’t — in some of the year’s most notable and forward-looking releases. Standout moments include Bill’s point on how improved color reproduction has given artists the freedom to do more with color than simply filling in the lines, Chris’s admission that he’s just never been in the right place to read Footnotes, and Tucker’s arguments for why both of Los Bros Hernandez handed in some of their best-ever work in the latest L&R.