SDCC: "Batman: The Killing Joke" Cast & Crew Debuts Film at Comic-Con International
Two graphic novels, Alison Bechdel’s Fun Home and Craig Thompson’s Habibi, were among the 10 most frequently challenged books last year in U.S. public schools and libraries, according to the American Library Association.
The annual findings of the organization’s Office of Intellectual Freedom were released Monday to help kick off National Library Week.
Creators | Political cartoonist Ted Rall talks to the local news about his firing by the Los Angeles Times, which concluded a post he wrote in May for its OpinionLA blog about being stopped by police in 2001 for jaywalking contained “inconsistencies.” Rall, who worked for the Times on a freelance basis, insists the audiotape of the incident provided to the newspaper by the Los Angeles Police Department doesn’t contradict his statements about being treated rudely and handcuffed. “I would do it all over the same way today,” Rall told CBS Los Angeles. “I’m disgusted that the Times took the LAPD’s word, based on nothing.” [CBS Los Angeles]
Awards | Big Questions by Anders Nilsen has won the Lynd Ward Graphic Novel Prize for 2012, the second such award given by the Pennsylvania Center for the Book. The organization also named four honorees: Freeway by Mark Kalesniko, Habibi by Craig Thompson, Life with Mr. Dangerous by Paul Hornschemeier and Zahra’s Paradise by Amir and Khalil. The awards will be presented during a ceremony at Penn State later this year. [Pennsylvania Center for the Book]
Publishing | IDW Publishing has promoted Dirk Wood to vice president of marketing. Wood joined IDW in 2010 as director of retail marketing. [IDW Publishing]
Conventions | Misha Davenport previews this weekend’s Chicago Comic & Entertainment Expo. [Chicago Sun-Times]
Hello and welcome to What Are You Reading? This week’s special guest is Simon Monk, an artist whose “Secret Identity” paintings we featured here on Robot 6 not too long ago. Monk is actually selling limited edition prints of his paintings on his website now, so go check them out.
To see what Simon and the Robot 6 crew have been reading, click below.
• iFanboy has named Petrograd by Phil Gelatt and Tyler Crook as their book of the year.
• Johanna Draper Carlson shares her top ten graphic novels of the year, a list that includes Anya’s Ghost by Vera Brosgol, Criminal: The Last of the Innocent by Ed Brubaker and Sean Phillips, Love and Capes: Wake Up Where You Are by Thomas Zahler and Hark! A Vagrant by Kate Beaton.
• Danny Djeljosevic, Nick Hanover and Jason Sacks at Comics Bulletin count down their top ten graphic novels of 2011, which include Frank Miller’s Holy Terror, Oil and Water by Steve Duin and Shannon Wheeler, and Habibi by Craig Thompson.
• Pop Candy’s Whitney Matheson continues her countdown of the top people of 2011. Jeffrey Brown comes in at No. 71, while Brian Selznick lands at No. 55. Jeff Lemire is at No. 31. Robert Kirkman and Kevin Smith both break into the top 20. I won’t spoil the No. 1 pick, but I agree with it wholeheartedly.
• Jonathan P. Kuehlein of the Toronto Star picks his year’s best, including Vietnamerica: A Family’s Journey by GB Tran, Joe The Barbarian: The Deluxe Edition by Grant Morrison and Sean Murphy, and Scarlet: Book 1 by Brian Michael Bendis and Alex Maleev.
Season’s Greetings and welcome to another edition of What Are You Reading?, our weekly look at what we’ve been reading lately. Today our special guests are Geoffrey Golden and Amanda Meadows, editors of Devastator: The Quarterly Comedy Magazine for Humans. Their latest issue has a video game theme, with contributions from James Kochalka, Corey Lewis, Danny Hellman and many more. And if you head over to their website between now through Dec. 16, the code ROBOT6 gets you 20 percent off single issues.
To see what Amanda, Geoffrey and the Robot 6 crew have been reading lately, click below.
Yesterday we kicked off our holiday gift-giving guide, where we asked creators like Jim McCann, Matt Kindt and more for gift suggestion and what they’d want to receive this year. Today we’re back with six more creators, and we asked them the same questions:
1. What comic-related gift or gifts would you recommend giving this year, and why?
2. What gift (comic or otherwise) is at the top of your personal wish list, and why?
So without further ado, let the joy continue …
1. If you have young children, you can give them hours of quality time with any of Dark Horse’s Harvey Comics collections. My kids have been poring through them repeatedly. I’ll be following up with old back issues of Casper, Dot, Richie Rich and Hot Stuff from the local comics shops; they’re always very cheap.
2. I would not sneeze at getting that Donald Duck: Lost in the Andes volume from Fantagraphics.
1. I’m a firm believer in buying comics for everyone on your list, even if they aren’t an avid fan. Make ‘em a fan! All-Star Superman for the superhero fan, Dungeons & Dragons from IDW for the gamer, Habibi for the sophisticated reader, and, of course, my Hack/Slash Omnibi for the horror fan. Or, if you’re planning on dropping a bit more, might I suggest an iPad, loaded with comics apps?
2. I want the collected version of the web strip OGLAF, which I thoroughly enjoy. I wouldn’t mind a CS Moore Witchblade statue to inspire me while I write.
Tim Seeley seems to be all over the place lately, whether it’s writing the new Bloodstrike series from Extreme or Witchblade for Top Cow, drawing issues of Marvel’s Generation Hope, or working on his own creations like Hack/Slash and Jack Kraken. There’s a good chance I forgot something, but you can follow him on Twitter to learn more.
Sales charts | Responding to an iFanboy article that speculates on what titles Marvel might cancel next, Men of War and Viking writer Ivan Brandon makes the case against sales charts and the subsequent analysis of them each month: “There’s an ongoing debate, for a bunch of years now. There are numbers that circulate every month, inaccurate numbers, people track them, people use that flawed ‘data’ to comment on what they see as the progress or decline on the list. A lot of comics professionals are against this, for a lot of reasons. In my case, for my books, the books I personally share copyright on … my reason is, and no offense to anyone out there: My income is none of your business. Just as your income is none of mine.”
Tom Spurgeon offers a counterpoint: “Sales information seems to me an obvious positive, not because it reveals the bank accounts of creators, but because what sells and to what extent is basic information about a marketplace, and the shape and potency of a marketplace seems to me a primary item of interest for anyone covering that marketplace. It’s foundational to our understanding of how things work and why. Certainly this information is already manipulated to brazen effect by companies with something to put over on customers; I have to imagine this would become worse under a system of no information at all being released.” [Ivan Brandon, The Comics Reporter]
I’m not even paraphrasing! In a lengthy and fascinating interview with Nadim Damluji, the writer whose thoughtful critique of Craig Thompson’s Habibi spearheaded the discussion of Thompson’s use of Orientalist tropes and stereotypes in his depiction of Arab and Islamic culture and people (particularly women), Thompson comes right out and welcomes all the sticky, tricky, at times uncomfortable and unpleasant associations his use of harems, slavers, sultans and so on call to mind.
Whatever you end up thinking of it, settling in with a comic book as big as Craig Thompson’s Middle Eastern fantasia Habibi is one of the great pleasures of being a comics reader: “That thing you like doing? Now you’re gonna get to do it for a long, long time.”
For fans of good writing about comics, The Comics Journal‘s roundtable discussion of Habibi affords similar pleasures. Over the course of some 10,000 words, a group of critics and scholars comprising Charles Hatfield, Hayley Campbell, Tom Hart, Katie Haegele, Joe “Jog” McCulloch, and Robot 6’s own Chris Mautner tackle nearly every aspect of Thompson’s remarkably fecund book. Jog’s comprehensive look at Thompson’s mysticism-derived structure for the book — probably the most complex such structure used on this scale by anyone other than Alan Moore — makes the roundtable worth a read all on its own. But I also greatly enjoyed the discussion of the influence of Will Eisner; the potential for race to be a more problematic aspect of the book than religion or culture; the tension between depicting exploitation and being exploitative oneself; the question of whether Thompson leaves room for interpretation or puts everything right there on the page… As with Habibi itself, perhaps it’s best just to dive right in and see where it takes you.
Okay, now I’m picturing the authors of Alec and Subway Series standing shoulder to shoulder, swords in hand, fending off the critical Ringwraiths as Craig Thompson cowers Frodo-style in the background. So yeah, the headline’s a bit dramatic. But in light of critic and scholar Nadim Damluji’s thoughtful and widely linked critique of Thompson’s massive new book Habibi, I thought it worthwhile to direct you to a pair of acclaimed cartoonists’ responses.
Damluji argued that in treating the Orientalist art and literature of the past as just another genre to play with, Thompson ended up perpetuating some of the very stereotypes he presumably set out to subvert when he decided to set his near-future fantasy in a fictional but still recognizably Arab/Islamic culture — particularly where sexuality and male-female relationships, often used by Western nations as a pretext for action against Middle Eastern ones, are concerned. Eddie Campbell responds that Thompson’s interest in these topics, or more generally Love, are consistent; the Middle Eastern trappings of the tale are just the vehicle Thompson selected to get where he’s going:
King City cartoonist Brandon Graham dropped this beauty on twitpic the other day — it’s a lovely tribute to Craig Thompson’s Middle Eastern epic Habibi, centered on the book’s female lead Dodola. It’s funny: I never would have thought there’d be much visual kinship between Thompson’s lush brushwork and Graham’s thin lines, but both artists have a curvilenear sweep to their work that turns out to make their styles mesh beautifully. And obviously, Graham can pack in the Thompson-esque ornamentation like whoa.
The best thing about the illustration is that no matter what you like about it, you can find more of that thing someplace online today:
Legal | Defense testimony began in the Michael George trial Monday after the judge denied a motion by the defense to order an acquittal. George’s daughter Tracie testified that she remembers her father sleeping on the couch in his mother’s house the night in 1990 when his first wife Barbara was shot and killed in their Clinton Township, Michigan, comic store. Another defense witness, Douglas Kenyon, told the jury he saw a “suspicious person” in the store that evening and that Barbara George, who waited on him, seemed nervous. [Detroit Free Press]
Conventions | Last weekend’s Alternative Press Expo inspired Deb Aoki to offer a burst of suggestions on Twitter as to how it could be made better. Heidi MacDonald collected the tweets into a single post, and the commenters add some worthwhile points (including not scheduling it opposite the Hardly Strictly Bluegrass festival, which attracts much of the same audience and is free). [Deb Aoki’s Twitter, The Beat]
Awards | Ian Culbard’s adaptation of H.P. Lovecraft’s At the Mountains of Madness won the British Fantasy Award for best comic/graphic novel, presented Saturday by the British Fantasy Society. [The British Fantasy Society]
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a “Splurge” item.
It is, thankfully, the last week of September which means that, if I had $15, I only have one more week of new launches from DC to pick out potential favorites, Sophie’s Choice-style. This week: Aquaman #1, Flash #1, Fury of Firestorm, The Nuclear Men #1, Justice League Dark #1 and Superman #1 make the cut (All DC, all $2.99 each).
If I had the chance to add some more money to take that total to $30, I’d go for some Marvel books: Brian Michael Bendis gets well-represented with Ultimate Comics Spider-Man #2 ($3.99); New Avengers #16.1 ($2.99), his “new readers jump on” issue with art by Neal Adams; and Brilliant #1 ($3.99), his new creator-owned book with Mark Bagley. Here’s hoping I’m in a suitably Bendis-y mood when I read all of these ones.
Splurgewise, it has to be Habibi (Pantheon, $35), Craig Thompson’s new graphic novel. I know a few people who’ve had a chance to read it already, and everyone has made it sound like a large leap ahead from Blankets, and something almost worth the many-year wait it’s been since his breakthrough last book. I’m really looking forward to this one.
Habibi is in, if you can call it a genre, the Arabian Nights genre. It’s borrowing from the tradition of 1001 Nights where one story folds into another and you lose sight of where you began. I was drawing from that book as a genre as if it were superheroes or crime noir, borrowing from a lot of the tropes of Arabian Nights and the bawdiness, the sensuality, the adventure, the violence, the religious aspects, the landscapes, the deserts, the harems.
— Craig Thompson, in conversation with CBR’s Alex Dueben, on his ambitious new graphic novel Habibi, which is set in a world shaped both by actual Islamic and Arab culture and an old-school, romanticized/exoticized Western vision of the same. As I’ve written elsewhere, Habibi isn’t really a book “about Islam,” as some of its PR makes it seem — it’s a book that uses Islam and the Middle East as a vector for exploring issues and obsessions close to Thompson’s heart, from religious texts to sexuality to art and design to simply drawing sweeping panoramic views of the desert. In that sense, his use of the term “genre” makes a good deal of sense, since like any genre artist might do, he’s using preexisting tropes as building blocks for his world.