And while we’re on the subject of big BCGF news, how’s this: Cartoonist and editor Zack Soto has announced the launch of Study Group Magazine, with a first issue slated to debut at the Brooklyn Comics and Graphics Festival on December 3rd. Spinning out of Soto’s long-running Studygroup12 anthology (the last issue of which debuted at last year’s BCGF) and co-edited by Soto and former Comics Journal editor Milo George, Study Group Magazine will include both comics and comics journalism. On the latter score, the first issue will feature an interview with Craig Thompson by George, an interview with cover artist Eleanor Davis by Soto, and a profile of Brecht Evens by Greice Schneider. As for the comics themselves, look for contributions from Soto, Michael DeForge, Jonny Negron, Trevor Alixopulos, David King, Aidan Koch, Daria Tressler, Chris Cilla, Malachi Ward, and Jennifer Parks. And be sure to visit Soto’s blog for some gorgeous purple-and-yellow two-tone preview art.
Occupy Wall Street and the related protests in other cities are proving fertile ground for comics journalists—by which I mean those who use sequential art to report about an issue rather than journalists who cover comics. The comics-journalism site Cartoon Movement posted an Occupy Sketchbook this week featuring work from Susie Cagle, Sharon Rosenzweig, and Shannon Wheeler, and they promise another installment next week. At Comic Riffs, cartoonist and Cartoon Movement editor Matt Bors explains why cartoonists and Occupiers get along so well:
“Corporate media is met with skepticism by protesters — and with good reason,” Bors tells ‘Riffs. “I’ve found that sitting and talking to people with a sketchbook is a far better way to gain insight than shoving a network camera in their face. That only yields sound bites.
“Susie Cagle’s approach of essentially being an embedded journalist with the movement,” Bors continues, “will no doubt result in great comics and the kind of insight you aren’t going to find on television.”
Many of the comics in the Occupy Sketchbook are sound bites too, but Shannon Wheeler’s drawing of Occupy Wall Street is a birds-eye view that a camera simply couldn’t capture as well.
Oh man, this was an unexpected treat to find in my Google Reader today: A six-page preview of comics memoirist-cum-journalist Guy Delisle’s upcoming travelogue Jerusalem, courtesy of Drawn and Quarterly. Delisle recounts a trip to an Israeli checkpoint as Palestinians attempt to pass through to attend Friday services at the al-Aqsa Mosque, and the resulting pages are a gorgeous demonstration of how to convey controlled chaos with a handful of lines and graytones. The full book, Delisle’s longest to date, comes out in April 2012.
Susie Cagle’s What Every Woman Should Know is a good example of how sequential art can mimic a documentary film. Cagle herself went to a First Resort clinic, a “crisis pregnancy center” that provides no medical care, just encouragement to go ahead and have the baby. She brings in big-picture statistics about contraception and abortion rates and interviews with representatives of First Resort and Planned Parenthood to provide a surprisingly complete story in just 18 pages.
The comic has a point of view, but Cagle doesn’t go over the top. She actually makes the point that First Resort does have its place, providing support for women who decide to go ahead with their pregnancies. At the same time, she takes issue with their deceptive practices, advertising themselves as more than they really are and giving women misinformation about their choices.
While I’m a fan of Darryl Cunningham’s non-fiction science comics, often they end up being text boxes with pictures. Cagle takes a more flexible approach, composing each page differently and offering information in different ways. I think this comic shows how powerful sequential storytelling can be—simply reading an article about the First Resort clinic wouldn’t have had the same impact.
Cagle’s comic is hosted at Cartoon Movement, which has become an interesting hub for editorial cartoons and journalistic comics. It’s a site well worth bookmarking.
Comics College is a monthly feature where we provide an introductory guide to some of the comics medium’s most important auteurs and offer our best educated suggestions on how to become familiar with their body of work.
This month we’re examining the bibliography of one of the more interesting and significant cartoonists to come out of the alt-comix movement of the 1980s and ’90s, Joe Sacco.
If you haven’t read much by Phoebe Gloeckner…well, frankly, I can’t blame you. I’ll tell anyone who’ll listen that she’s one of the very, very, very best cartoonists working today—if I were to make a list, she’d rank in the low single digits—and that her unique prose-comics-illustration-memoir hybrid The Diary of a Teenage Girl is maybe my favorite graphic novel of all time. But since that book came out in 2002 (her only other comics collection, A Child’s Life and Other Stories, debuted in 1998), her comics work has been next to nonexistent, with only a couple of cartooned contributions to The Comics Journal‘s short-lived line of Comics Journal Specials and several photocomics here and there to her name.
Late last year, the manga publisher Digital Manga Publishing announced a new initiative: The Digital Manga Guild. Basically, this is an attempt to make the scanlation model work legally: Volunteer teams would translate books into English (and other languages) and edit them, with the permission of the publishers and creators. Digital would publish the books online and readers would pay a small fee to read them; no one gets paid up front, but everyone gets a cut of the sales.
The proposal was initially met with both enthusiasm from fans who want to see more manga translated and skepticism from existing scanlators who were concerned it was just a big sting to get them to reveal their identities—and become vulnerable to legal action. Those initial fears seem to have been allayed, and a number of teams have signed up. Among them is blogger Melinda Beasi, who will be reporting on the process from the inside, with permission from Digital.
Melinda has already cleared the first few hurdles: She successfully pre-registered and passed the editor’s test. Now she has to find partners, because Digital only works with three-person teams consisting of an editor, a translator, and a typesetter. The problem is, there are plenty of editors but not so many people with enough skills for the other two jobs who are willing to work for free. There’s a matchmaking thread at the Digital Manga Guild forums, however, and it looks like Melinda may have found her partners there.
Melinda is donating all her fees to the Comic Book Legal Defense Fund, so she’s only in it for the experience. Most scanlators work for free, just for the love of the manga, but they also often have a lot of free time, and many are students who drop out of the scene once they are out of college. So there are two questions here: Will people who have done it as a hobby be happy doing it as a job, and will people who are essentially working for free be able to make the same commitment as a professional translator, editor, or typesetter. It will certainly be interesting to see how this works from the inside, and as our digital Nellie Bly, Melinda will certainly report on both the highs and the lows of this experience.
Retailing | As the financially troubled Borders Group met Tuesday with publishers in hopes of converting delayed payments into interest-bearing debt, the bookseller’s larger rival Barnes & Noble expressed concerns that could complicate negotiations. “We think the playing field should be even,” B&N spokeswoman Mary Ellen Keating said in a statement. “We expect publishers to offer same terms to all other booksellers, including Barnes & Noble and independent booksellers. We fully expect publisher’s will require Borders to pay their bills on the same basis upon which all other booksellers pay theirs. Any changes in publishers terms should be made available to all.” Meanwhile, Reuters considers what the closing of Borders’ 600 stores would mean to the book industry. [The New York Times, Publishers Weekly]
Vaneta Rogers and I have been longtime colleagues as comics journalists, specifically at Newsarama. We were both brought in under longtime site editor Matt Brady, and have each covered comics far and wide — and stepped on each other’s toes more than once. Like me, Vaneta juggles both a career writing about comics and doing design and marketing for local clients through her own company. As someone working beside her, I’ve been amazed by her ability to get a story and get interview subjects to be more candid than they might normally be. Several times a month I see a piece she did and say, “Damn, I wish I would have done that first.”
Through her work, she has a unique perspective on the superhero-centric world of America comics and the genre-based comics in and around it. She knows all the players, she’s seen the game being played for years, and has a healthy love for comics and a pull list any comics fan would die for.
Chris Arrant: When people ask about your work, what do you tell people you do for a living? And is it different for a comics person as opposed to someone not familiar with comics?
Vaneta Rogers: I tell them the truth — that I’m a freelance writer for the Internet, and that I write about comic books and comic-related media. My kids sometimes make my job sound more exciting by bragging to their friends about people I’ve gotten to interview, and that’s nice, ’cause my kids rarely think I’m cool. But for me, it’s just a job description, so there’s no reason to change it.
Tom Spurgeon has been covering comics and the comics industry since the early ’90s, but really emerged as a prominent voice about comics in 2004 with the launch of his website The Comics Reporter. After years of steadily growing into online journalism, in 2010 Spurgeon won the Eisner Award for Best Comics-Related Periodical/Journalism. He’s authored, or co-authored, several books about comics, including Stan Lee and the Rise and Fall of the American Comic Book and the overlooked Romita Legacy. He also wrote a a syndicated comic strip from 1999 to 2002 called Wildwood.
I turned to Tom for this interview as a chance for readers to get another side of someone who’s seen and covered a lot in comics, and frankly to ask him from one journalist to another what I should pay attention to more. So whether you’re reader, reporter, creator or suit, I recommend you read on for Spurgeon’s take on where we stand, where we fall, and how we can pick ourselves up again.
Chris Arrant: When you meet people, what do you tell them you do for a living?
Tom Spurgeon: Astronaut!
I tell them I’m a writer. Is that a dumb answer? Everybody’s got to do something. The comics part only comes up if people ask me what I write about, at which point I tell them one of my areas of interest is comics. It was a lot harder in the mid-’90s trying to describe what I did for a living in that people were much less familiar with comics beyond newspaper strips and superhero books. We used to get calls at The Comics Journal from people pitching us stand-up comedian articles. My friends back home have an easier time wrapping their mind around what I do now, with multiple entry points and greater coverage of the field.