X-POSITION: Phoenix, Upstarts & More Tear Up Bowers & Sims' "X-Men '92"
The big news about this year’s Ignatz Awards, presented over the weekend at the Small Press Expo in Bethesda, Maryland, is that all the winners were women.
The second piece of big news is that Sophia Foster-Dimino took home three awards, while Sophie Goldstein won two.
Named in honor of the brick-wielding mouse in George Herriman’s Krazy Kat strip, the Ignatz Awards recognize achievement in comics and cartooning. Nominees are selected by a panel of five cartoonists, and then voted on by SPX attendees.
[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]
Two sure signs the year is drawing to an end: It’s snowing in Massachusetts and the Best of the Year lists are starting to appear. Publishers Weekly released theirs yesterday, and there’s something interesting about it: Although there is a separate category for comics, several graphic novels are nominated in other categories as well.
This is by no means unprecedented—after all, Maus, one of the first graphic novels, won a Pulitzer Prize—but we seem to be seeing more of it. Roz Chast’s Can’t We Talk About Something More Pleasant? won the inaugural Kirkus Prize for Nonfiction. This is a prize with only three categories, yet two graphic novels made the final round (the other was Cece Bell’s El Deafo, which was a finalist in the Young Readers category). Gene Yang was a speaker at the National Book Festival gala in September, giving him a prominent platform to speak to general readers who might pick up a graphic novel, as opposed to die-hard fans of the medium, and it’s become more and more common for graphic novels to make the shortlists for general book awards.
Comics | Writing for The Advocate, Jase Peeples takes note of the diversity of DC Comics’ extended Batman family — from Batwoman to Batwing to Barbara Gordon’s roommate Alysia Yeoh — and talks with writers Gail Simone, Grant Morrison, Marc Andreyko, Tom Taylor and Chip Kidd. “I would like to think that people can pick up books like Batman Incorporated or The Multiversity and see their own lives reflected,” Morrison says. “But I’d always caveat that with the need for us to see more diverse writers and artists, because that’s when I think the walls will really come down. As a straight [white guy from Scotland] I can only do so much, and I find even sometimes when you do this, you do get accused of tokenism or pandering. I don’t mind it. I can put up with that, but I’d rather see a genuine spread of writers and artists creating this material.” [Advocate.com]
Lest you mistake Eleanor Davis‘ new collection How to be Happy for a self-help book, she spells out everything in the opening pages. It won’t help a depressed person become less depressed, but Davis does recommend two books that benefited her — a situation we briefly discussed.
I’ve long had an affinity for the Athens, Georgia-based storyteller, whom I first interviewed in 2011. That affection is partly because we live in the same state, but also because her work often strikes me as the comics equivalent of an interpretive dance. I have no other way to describe the core response that her work elicits from me. I look repeatedly at some of the pages in this collection and still find something new each time.
Comics | Liam Burke, editor of the essay collection Fan Phenomena: Batman, discusses the enduring appeal of the Dark Knight, who of course turns 75 this year: “This isn’t a guy who’s from an alien planet, this isn’t someone who was bitten by a radioactive spider. This is an average guy, albeit incredibly wealthy and incredibly intelligent, at the peak of human fitness, but an average guy nonetheless. That sort of aspirational quality has been identified as the reason Batman sort of stands above Spider-Man, Superman or any number of heroes.” [RN Drive]
Publishing | David Harper looks at the economics of monthly creator-owned comics, as well as how trades fit into the picture; for creators, the monthlies provide a regular stream of income so they can always be working on the next issue. Brandon Montclare, Jim Zubkavich and others provide some first-hand commentary on how things work in the real world. [Multiversity Comics]
Conventions | Phoenix Comicon, which in 2013 drew a record 55,000 people, has placed a limit on attendance for the June 5-8 show, raising the possibility that the convention could sell out for the first time. However, convention director Matt Solberg said organizers have been working with the fire marshal to increase capacity at the Phoenix Convention Center. This year’s guests include Andy Kubert, Andy Runton, Camilla d’Errico, Chris Claremont, Christopher Golden, Dennis Calero, Don Rosa, Francis Manapul, John Layman, Katie Cook, Kevin Maguire, Marc Andreyko and Mark Bagley. [Facebook, via Modern Times]
Manga | Lillian Diaz Przybyl, who was the senior editor at Tokyopop until shortly before its demise, talks about her early days in fandom, her experiences at the company when it was a market leader, and the issue of piracy and creators’ rights. She also sheds some light on why the manga publishers were so slow to go to digital: The Japanese licensors were reluctant to put content from different publishers together and worried that their books would be re-imported back to Japan. [Organization Anti-Social Geniuses]
I recently caught up with seasoned industry veteran Shannon Wheeler for an email interview. This interview took place before Wheeler’s recent announcement that he was contemplating a project at ACT-I-VATE–I mention this only as an explanation as to why I ask no questions in that regard. As noted in this recent post, his work has frequently been picked up by The New Yorker as of late, while he continues his work on How to Be Happy. And, of course, we get in some discussion about his overall Too Much Coffee Man work. My thanks to Wheeler for his time.
Tim O’Shea: You are a creator with a long, proven track record, who covers a great many concepts in your work (judging by this tag cloud). This page offers me a wealth of topics to ask you about, but I’ll focus on one. In a down economy like this current one, does it make it easier (or even too easy) to tackle consumerism in the strip?
Shannon Wheeler: It makes it easier to criticize capitalism/materialism/consumerism when the economy is South in that you have specific things (like unemployment and poverty) to point at. Some of the humor becomes more poignant because the reality is more harsh. But that’s very external. To me it feels like the humor has stayed the same.
A lot of the cartoons are about my personal struggles. Consumerism is something I wrestle with. I love buying DVDs, collectibles, art. At the same time I think owning things, wanting things, is ridiculous.