Françoise Mouly Archives - Robot 6 @ Comic Book Resources
Legal | At the request of a state-owned distributor, the Russian media watchdog Roskomnadzor is investigating charges that Marvel comics are “propaganda of a cult of violence,” specifically, violence against Russian targets. The agency will review Avengers #1, due out in Russia in August, “regarding the use of Soviet symbols, the presentation of the characters as Russian service personnel, and the incitement of violence and cruelty,” according to the the Russian Legal Information Agency. This seems to be about the Winter Guard and specifically about Vanguard, who wears a hammer-and-sickle logo; the European publisher, Egmont, plans to remove the logo for the Russian release. Roskomnadzor has the option of issuing an official warning; a publisher who gets two of these in a year may have its license revoked. [CNET]
Publishing | I talked with TOON Books founder Francoise Mouly about her new imprint, TOON Graphics, which will feature “visual books” (picture books and comics) for readers ages 8 and up. The line launches with three titles: Theseus and the Minotaur, by Yves Pommaux, Cast Away on the Letter A, by Fred, and Hansel and Gretel, retold by Neil Gaiman and illustrated by Lorenzo Mattotti. [Publishers Weekly]
Commentary | Former DC Comics senior editor Joan Hilty tackles the issue of sexism in comics and calls for publishers to include more women in their senior editorial rank:. “Women are getting the bestselling books into stores and greenlighting the million-dollar movie franchises, but they’re barely represented among the creative executives who map out the universes and storytelling strategies. That’s where you cement broad-based, long-term loyalty to authors and characters, tap new audiences and trends, and grow readership, without which none of those books or movies would exist.” [The Guardian]
Manga | In a two-part interview, ICv2 talks at length to veteran Dark Horse manga editor Carl Horn about how the manga market has evolved since 1987, which manga do and do not do well, and what the future may hold. The good news is the market seems to be recovering after several years of declining sales; the hard evidence is that Dark Horse is sending more royalties back to the Japanese licensors. And the new reality is that while the market may be smaller, almost everyone knows what manga is now: “You can’t simply put a manga on the market and expect it to sell because it is manga (that was one of the nice things about the boom because you could take a chance on more marginal titles), but on the other hand you don’t have to do as much explaining about what manga is anymore.” In addition, ICv2 lists the top 25 manga and the top 10 shoujo and shonen properties from the last quarter of 2013. [ICv2]
Publishing | Israeli creators Rutu Modan (The Property) and Yirmi Pinkus have launched a new publishing house, Noah’s Library, to produce graphic novels for children. Modan, who wrote and illustrated Maya Makes a Mess for Toon Books, is creating new illustrations for the 1930s Israeli comics character Uri Kaduri, while Pinkus is illustrating stories about Mr. Gazma’i Habeda’i, another vintage character. They eventually plan to release the work of other creators as well. [Haaretz]
Cartoons | Francoise Mouly presents an array of cartoons by Ad Reinhardt, who eventually made his name as a fine artist with black-on-black paintings that he described as “the last paintings that anyone can make.” (For good measure, Mouly throws in a slide show of New Yorker cartoons about those paintings.) Before he reached that artistic pinnacle, Reinhardt drew cartoons for a number of different publications, including the leftist newspaper PM, where his fellow artists included Theodor Geisel (Dr. Seuss) and Crockett Johnson, and the trade magazine Ice Cream World, where he was the art director. [The New Yorker]
Publishing | Calvin Reid talks to publisher Josh Frankel, who is relaunching his Zip Comics (the publisher of Harvey Pekar’s Cleveland) as Z2 Comics. The first books under the new name will be reprints of a sort: Paul Pope’s Escapo, which he originally self-published in black and white, and Dean Haspiel’s Fear My Dear, which first appeared as a webcomic at Act-I-Vate. Escapo will be colored and Fear My Dear will be re-colored. The company will publish strictly graphic novels, no periodicals, and they will be distributed by Diamond Comic Distributors. [Publishers Weekly]
Passings | Toledo, Ohio, cartoonist Pete Hoffmann, whose comic strip Jeff Cobb was syndicated nationwide, died last week at the age of 94. Hoffman was also a ghost artist for Steve Roper and illustrated the panel cartoon Why We Say, which explained the meaning behind common sayings. He “got ambitious” and decided to strike out with his own strip, and the result was Jeff Cobb, a serial about an investigative reporter, which ran from 1954 to 1975. In this 2004 interview, he talks about his work and shows off his first published drawing, which appeared in the Toledo Times when he was four years old. [Toledo Blade]
Manga | Shueisha’s Weekly Shonen Jump has announced that One Piece will go on hiatus for the magazine’s next two issues because creator Eiichiro Oda has been hospitalized for a peritonsillar abscess, a complication of tonsillitis. The popular series is expected to return June 10. One Piece, which has been serialized in Weekly Shonen Jump since 1997, has sold more than 280 million volumes in Japan alone. [Anime News Network]
Creators | Art Spiegelman and Francoise Mouly share their thoughts (and sometimes disagree) on their own world, the comics world in general, and digital media. [National Post]
The Toronto Comic Arts Festival celebrates its 10th birthday this weekend with a truly stellar lineup of guests and an amazing array of events. The list of creators who will be there is impressive in both its quality and its breadth: Art Spiegelman and Francoise Mouly, Gilbert and Jaime Hernandez, David B., Taiyo Matsumoto, Rutu Modan, Frederik Peeters, Paul Pope, Bryan Lee O’Malley, Hope Larson, Faith Erin Hicks, Derf Backderf, Raina Telgemeier, Dave Roman, a roll call that goes from living legends to plucky creators making their own comics zines by hand.
The Slate Book Review has teamed up with the Center for Cartoon Studies to offer The Cartoonist Studio Prize, a new awards program that will be judged by Slate’s Dan Kois, The CCS faculty and students, and New Yorker art editor Françoise Mouly, who serves as this year’s guest judge. Slate announced yesterday the nominees in two categories, best graphic novel and best webcomics, and will reveal the winners of the $1,000 prizes March 1.
The Toronto Comic Arts Festival will celebrate its 10th anniversary in style May 11-12 with a truly stellar lineup of guests. Let’s get right to that, actually. Here’s the list, straight from the TCAF site:
- Art Spiegelman: Author of Maus, winner of the Pulitzer Prize, Co-Founder RAW Magazine. Debuting:Co-Mix
- Francoise Mouly: Art Editor of The New Yorker, Founder of Toon Books, Co-Founder RAW Magazine
- Taiyo Matsumoto Author of Tekkon Kinkreet (adapted into film by Sony Pictures). First North American event. Debuting: Sunny Volume 1. (Japan)
- Raina Telgemeier: New York Times Bestselling Author of the childrens’ and middle-grade graphic novels Smile and Drama
- Blutch: Angouleme Grand Prix Winner. First North American event. Debuting: So Long, Silver Screen. (France)
- Gengoroh Tagame: Acclaimed Japanese gay comics creator. First North American event. Debuting: The Passion of Gengoroh Tagame. (Japan)
- Dash Shaw: Author of BodyWorld. Debuting: New School.
- Maurice Vellekoop: Acclaimed illustrator and comics author. Artist of TCAF 10th Anniversary Poster.
The annual Small Press Expo, better known as SPX, will arrive at the Bethesda North Marriott Hotel and Convention Center in Bethesda, Maryland, Saturday and Sunday. This particular SPX promises to be excellent — mayhap the bestest SPX evar — so allow me to run through some of the goings-on if you happen to be in that area this weekend.
It’s time once again for our monthly trip through Previews looking for cool, new comics. Michael and Graeme have each picked the five new comics we’re most anticipating in order to create a Top 10 of the best new comics coming out two months from now.
As usual, please feel free to play along in the comments. Tell us what we missed that you’re looking forward to or – if you’re a comics creator – mention your own stuff.
Blacklung HC (Fantagraphics Books, $24.99): This one grabbed me as soon as I read the high-concept in the solicits: A man decides to be as evil as possible so that he’ll be reunited with his dead wife in Hell when he dies. Depressing, existential AND romantic? I couldn’t sign up quickly enough for Chris Wright’s original graphic novel debut.
Chris Ware: Building Stories HC (Pantheon Books, $50.00): To be honest, I run hot and cold on Ware’s work; as a formalist, he’s wonderful and his work is technically perfect, but I don’t always get the emotional hook that I want from his work, and that’s a real problem for me. Luckily (or not? This is a pricey book to gamble on), the technical aspects of this box set of interrelated publications, all seen for the first time here, sounds interesting enough to sample no matter how cold the writing leaves me. Damn my curiosity about comics formats!
Happy! #1 (of 4) (Image Comics, $2.99): I’ll admit it; I’m more than a little dubious about the “It’s a hit man teaming up with a magical flying My Little Pony” set-up of this new series, but it’s Grant Morrison and Darick Robertson, so I almost feel a sense of “How bad can it actually BE?”
Steed and Mrs. Peel #1 (BOOM! Studios, $3.99): I’ve always enjoyed the old Avengers TV show at something of arm’s length, having only seen a handful of episodes (but enjoyed them greatly); what draws me to this new series is the presence of Mark Waid, who seems to be on fire these days between Insufferable and Daredevil.
Stumptown: The Case of the Baby in the Velvet Case #1 (Oni Press, $3.99): Oh, you should’ve seen me when I found out this was finally coming out. Not only did I absolutely love the first Stumptown series a couple of years ago, but I’ve also been on a Greg Rucka novel re-reading kick recently, so finding out that Dex’s client for this new story is the lead character from A Fistful of Rain made me almost impossibly happy. Easily my most-anticipated book of the month.
The New Yorker art editor, Françoise Mouly has a Tumblr and it is awesome. In addition to cool miscellania like the ’80s photo above, Mouly also runs a weekly, “Theme of the Week” contest where artists can submit covers based on themes like this week’s “In Like a Lion, Out Like a Lamb.”
Mouly says that “this blog and contest are informal and not affiliated with The New Yorker magazine, but I’m always on the lookout for ideas. When I find them, I’ll get in touch with the artist, all on a case by case basis.” She also asks artists to “keep submissions confidential in case they are later selected for publication,” so it’s more than just for fun.
(via The Beat)
Another thing which is never brought up or mentioned, but it’s very intriguing, forever going back to the old days of The New Yorker and through now, as far as women and men cartoonists are concerned, there is no problem. None of this bullshit that’s been plaguing almost every other endeavor or business, this war of the sexes. Not a trace of it in cartooning. It just isn’t there. It may be because we all have a sense of humor. I don’t know what it is, but it’s very interesting and it’s nice.
— Legendary cartoonist Gahan Wilson of Playboy, National Lampoon and The New Yorker fame, explaining to CBR’s Alex Dueben that things apparently aren’t as contentious over issues of sex and gender in Francoise Mouly’s shop as they are in other parts of the industry. (Cf. recent New Yorker roster addition Kate Beaton’s ongoing victory lap …)
Publishing | Mark Evanier, who is providing editorial assistance on Fantagraphics’ long-awaited Walt Kelly Pogo collections, notes that the first volume has gone to print. “My friend, the lovely Carolyn Kelly, lovingly supervised the loving restoration of her lovely father’s lovely strip and she also did the lovely design of this lovely book and its lovely dust jacket and the lovely imprints under that lovely dust jacket. Sure sounds like a labor of love to me. Not that the contents need any help but the strips are supplemented by a foreword from writer (and friend o’ Walt’s) Jimmy Breslin and essays/annotations by Steve Thompson, R.C. Harvey and myself. If I were you, I’d read all that text stuff after I read the strips themselves about eleven times.” [News from Me]
Comics | Todd Allen runs through some of the “actual changes” to the DC titles come September, noting the eight new (or fairly new, or returning after being absent) writers, plus four who have been “poached” from Vertigo. [Indignant Online]
Comics | Martin Wisse takes The Atlantic to task for publishing an “utterly dull and middlebrow” list of 10 nonfiction graphic novels they called “masterpieces.” He notes that when commenters call out the author for not listing any works by Joe Sacco, she responds that she “chickened out” on including Footnotes in Gaza because “the topic is so polarizing.” Tom Spurgeon has commentary as well, noting, “It’s galling that an author can admit to not including something for publication because they were afraid of Internet reprisals and not be automatically fired and/or laughed out of town.” [Wis[s]e Words, The Comics Reporter]
Toon Books, the early-reader comics imprint helmed by Francoise Mouly, is relaunching three of its iPhone apps: Silly Lilly and the Four Seasons, by Agnes Rosensteihl; Jack and the Box, by Art Spiegelman, and Little Mouse Gets Ready, by Jeff Smith. Yes, you can get comics by the creators of Maus and Bone for free! All are worth a look on their own merits, and they also make an excellent distraction should you find yourself in the company of bored, fidgety children.
Of course, the free app is just the start—as soon as you open it up, you get the option to purchase an audio version in English or a variety of other languages.
I looked over the Little Mouse app, and it looked good, although the automated page turns are a little disconcerting. (You can turn that off from the start menu but not once you are reading the book.) All three books were originally published in a landscape format so they fit nicely on the screen, and the resolution is good even when blown up to double size for the iPad. And compared to $12.95 for the hardcovers, the free app is a steal.