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Set for release in 2016, the coming-of-age story is described as “an exploration of sexuality, family and faith” that centers on Amanda, who’s trying to figure out what the big deal is about kissing.
“I wanted to write a hopeful book about growing up queer in a conservative community — both in the present day but also in the past — inspired partially by my older sister’s coming out and the reaction of my very Catholic family, both good and bad, “Venable, an Eisner nominee and senior designer for First Second, said in a statement.
Wagner added, “When I read the script for Kiss Number Eight, I had this fantasy about if I were a decade younger, and I got to read this comic for the first time when I was Amanda’s age, and how much it would mean to me. I remember the teenage feeling of a book having been written for me, and I think probably it would be one of those ‘I want to make comics’ or possibly ‘I want to be Colleen AF Venable’ moments. “
Graphic novels | France 24 examines the Thursday release of Asterix and the Picts — the first album by new creative team Jean Yves-Ferri and Didier Conrad — from a political perspective, noting that the story, in which Asterix and Obelix journey from ancient Gaul to Iron Age Scotland, has already become part of the current debate about Scottish independence. [France 24]
Creators | Chinese cartoonist Wang Liming, who spent a night in police custody last week on charges of “suspicion of causing a disturbance,” spoke to the press this week. Liming, who has more than 300,000 followers on his microblog account, first ran into trouble two years ago for one of his cartoons, but police told him that China has freedom of speech and he could continue drawing. Nonetheless, another of his cartoons, depicting Winnie the Pooh (a frequent cartoon stand-in for Chinese President Xi Jinping) kicking a football was deleted and suppressed by censors. “For them, drawing leaders in cartoon form is a big taboo,” the cartoonist said. “I think the controls on the Internet are too harsh. They have no sense of humor. They can’t accept any ridicule.” [Reuters]
Since its launch in 2006, First Second has built a solid reputation as a publisher of high-quality graphic novels: Gene Luen Yang’s American Born Chinese, Emmanuel Guibert’s The Photographer, Mark Siegel’s Sailor Twain, and Jorge Aguirre and Rafael Rosado’s Giants Beware testify to both the breadth and the quality of the company’s line.
I was offered the opportunity to interview editor Calista Brill and designer Colleen AF Venable about the past year at First Second and what we can expect in 2013, but I couldn’t resist the temptation to sneak in some questions about the nuts and bolts of working with creators and editing graphic novels.
MICE, the Massachusetts Independent Comics Expo, is like a mini-MoCCA for the Boston area. Sponsored by the Boston Comics Roundtable and the Art Institute of Boston, MICE is in its third year, and last year’s show was such a hit that tables for this year sold out within three hours. The headline guest is R. Sikoryak, and the roster includes Box Brown, Ming Doyle, Cathy Leamy, Kevin Church, Colleen AF Venable and Stephanie Yue (who will be debuting their latest Pet Shop Private Eye book at the show), Adventure Time team Braden Lamb and Shelli Paroline, and many more too numerous to mention (more than 150 in all). Besides Venable and Yue’s book, there are several other debuts at the show, including the Boston Comics Roundtable’s Hellbound III, Cathy Leamy’s Diabetes Is After Your Dick and Mike Lynch’s Don’t Let the Zombie Drive the Bus.
As much as I love the big shows, and I’ll move heaven and earth to get to New York Comic Con every year, I really enjoy smaller shows like this. Boston has a lot of native and nearby comics talent, and while the room does get crowded at times, it’s still more laid back than a big con. You get to see talent at all stages of its development and interact with creators while they are still making their comics by hand. Plus it’s in a great location, easy to get to and with a ton of good restaurants nearb y— no shriveled-up turkey sandwiches for $9 a pop or fake coffee in a Styrofoam cup. Admission is free, too. So if you’re in the area, hop on the T and check it out.
Retailing | Although the 14th volume of The Walking Dead wasn’t released until June 21, it still managed to secure the No. 2 spot on BookScan’s list of graphic novels sold in bookstores that month, behind the 51st volume of Naruto. It’s the ninth consecutive month that at least one volume of the horror series has appeared in the BookScan Top 20, a run that began as marketing geared up for the AMC television adaptation. [ICv2.com]
Publishing | Darwyn Cooke has announced that the release of Parker: The Martini Edition will be postponed for a few months, and takes full responsibility for the delay. The book is now scheduled to debut at the Long Beach Comic Con in October [Almost Darwyn Cooke’s Blog]
Publishing | John Jackson Miller looks at the history of comics numbering, which he traces back to dime novels of the 19th and early 20th centuries: “Comics are anomalous in American magazine publishing because most comics don’t use volume numbers and issue numbers that roll over ever year; rather, the numbers keep on going. In that, our numbering is much like that used for the cheap, disposable fiction of the earlier days.” [The Comichron]
Stumptown is over, and now it is time for the other Portland—Portland, Maine—to host its comics festival. Unlike its West Coast namesake, Portland, Maine, is not well known as a teeming hive of comics activity, but there are some homegrown cartoonists, and this festival has attracted quite a few Boston and New York creators as well.
While it doesn’t advertise itself as a kids’ comic con, the lineup is heavy on all-ages creators: Andy Runton (Owly), Lincoln Peirce (Big Nate), Renae De Liz and Ray Dillon (The Last Unicorn), Rick Parker (Diary of a Stinky Dead Kid, Harry Potty and the Deathly Boring), and Colleen AF Venable (Pet Shop Private Eye) leading the pack. Maine’s own Jay Piscopo, whose Capt’n Eli books are inspired by a Down East root-beer mascot, will be there as well. The one headliner who is not best known for his children’s work is superhero artist Joe Quinones.
The full guest list reveals a wider range of creators, including Carol Burrell, Cathy Leamy, and Mike Lynch. MECAF promises the pleasures of a small con; it is creator-focused (no card tables full of longboxes), affordable ($5 admission for adults, kids are free), and likely to be blissfully free of large crowds, which makes for a more relaxed atmosphere for creators and visitors alike. If I were in Maine, I’d make a day of it.
Comics | A near-mint copy of Amazing Fantasy #15, the 1962 comic featuring the first appearance of Spider-Man, was purchased in a private sale on Monday for $1.1 million — short of the record $1.5 million paid in March 2010 for Action Comics #1. “The fact that a 1962 comic has sold for $1.1 million is a bit of a record-shattering event,” says Stephen Fishler, chief executive of ComicConnect.com. “That something that recent can sell for that much and be that valuable is awe-inspiring.” [The Associated Press]
Comic-Con | Hotel reservations for Comic-Con International open this morning at 9 PT. A preliminary list of hotels included in the Comic-Con block is available on the convention website. [Comic-Con International]
Comic-Con | ICv2 has announced it will host the its Comics, Media and Digital Conference on July 20, in conjunction with Comic-Con International. [ICv2]
First Second produces some of the most beautifully designed graphic novels on the market today, and in this interview at Artist Abbreviated, designer Colleen AF Venable explains the cover design process from start to finish. It’s definitely a combination of inspiration and perspiration:
If you count of the number of thumbnails we did for those two books [Brain Camp and Kristyna’s Ghost] it is over 40. Thumbnails are the most important stage. Without an awesome thumbnail, one that works even if seen at a single inch tall, your cover will never really shine. We then go to pencils and I obsess in that stage a bit more, eyes need to be exactly right (the thing that draws viewers in the quickest), proportions need to be perfect, space for logo should feel deliberate, not an afterthought. It can take months before we go from perfect thumbnail, to perfect pencil.
She also talks about her love of spot gloss and other special effects, her dream of someday designing a wordless cover, and the day she was discovered as a designer. There’s a nice gallery of images to go along with her discussion of the types of art she finds most compelling, so this is well worth a leisurely read.