The Biggest Superhero Films That Didn't Happen, Part 2
Comic Books, Film
With a cheerful crowd, a pleasant venue, and plenty of exciting creators and books, this year’s MoCCA seems to have been deemed a success. Both Christopher Mautner and I were there, and we decided that rather than write two separate blog posts, we would have a dialogue in which we contrast our impressions of the show. If you’re looking for a more comprehensive report on the show, check out the MoCCA report by our CBR colleague Alex Dueben as well as Tim Callahan’s writeup of his visit.
Chris: I’ll start: Was this your first time at a small-press comics show? I know you’ve gone to NYCC and several manga/anime related shows before, but I didn’t know if you’d been to something like MoCCA before? What was your general impression?
Brigid: This was my first time at MoCCA and my first time at a small-press comicsshow like this, although I have been to art shows with a similar feel.
First of all, I loved the locale. I actually used to live a few blocks away, so it was a bit of a homecoming for me to walk through Madison Square Park in the sunshine. The building itself had a nice, open, loft-like feel with plenty of rough edges—it felt artsy.
The show itself seemed like a giant, really good, Artists Alley. (I kept getting this feeling of deja vu because there were so many people I had just seen at C2E2.) The show definitely felt crowded, but never overwhelming. I made a pretty good circuit of the floor, but I felt like I missed as much as I saw, and I could easily have spent twice as much time there as I did.
New York Magazine has a slideshow up this week about Pizza Island, the Greenpoint, Brooklyn, studio where six comics creators make the magic happen.
The slideshow includes self-portraits of Julia Wertz (Fart Party, Drinking at the Movies), Kate Beaton (Hark, A Vagrant) Lisa Hanawalt (I Want You), Sarah Glidden (How to Understand Israel in 60 Days or Less) Domitille Collardey (whose works are mostly in French), and Meredith Gran (Octopus Pie) as well as comments on each one by a co-worker. (It was Lisa and Domitille who commented on that Frank Quitely piece, so it’s interesting to contrast their self-portraits with his version of a woman cartoonist.)
There’s a whole lot of talent working in that small space, and if you’re fortunate enough to be going to MoCCA, be sure to check out their panel, which will feature all six. If you’re not, then head on over to the Pizza Island blog, where, at the moment, everyone is showing off their work spaces and discussing the quirks of their desktops.
To find out what Mark and the Robot 6 crew have been reading, click below …
It’s funny because it’s true: Julia Wertz provides a peek into the effects of reviews on a creator’s psyche at The Fart Party. Then to prove she’s not that thin-skinned, she posts some excerpts from bad reviews at her blog:
Only in America could an alcoholic, whiney, self-sabotaging person with limited artistic skill write and illustrate a comic, oops, “graphic novel” about her pathetic and boring life in San Francisco and New York City/Brooklyn and become successful. Reading it almost drove me to drink.
Ouch! Actually, Drinking at the Movies is anything but boring—it’s funny and perceptive and unsparing, and it’s well worth a read. I’m with the
New York LA Times on this one.
Publishing | John Jackson Miller delves into September’s grim direct-market sales figures and discovers a (relative) bright spot: Sales of lower-tier titles — those that don’t crack Diamond’s Top 300 — appear to be increasing, to record levels. “How do we know?” Miller writes. “Believe it or not, a record for high sales was actually set in September. The 300th place comic book, Boom’s Farscape #11, sold more copies to retailers in September than in any month since November 1996: 4,702 copies. That’s a record for the period following Marvel’s return to Diamond. This bellwether tells us about the shape of the market, and how prolific the major and middle-tier publishers are; when many of their titles are being released and reordered, higher-volume titles tend to push farther into the list.”
However, the higher you go on the list, the worse things look: “The average comic book in the Top 25 is selling more poorly in 2010 than in 2003. At the very top of the chart, 2010’s average top-sellers are about 25% off what the best-sellers of 2003 were doing.” [The Comichron]
In a story that is becoming depressingly familiar in the comics world, Rachel Dukes and Mike Lopez, the creative force behind Poseur Ink, are having a family emergency and need to sell off all their copies of their music-themed comics anthologies Side A and Side B.
Right now Side A, which includes work by Sean Azzopardi and Julia Wertz, is just five bucks, while Side B, with a cover by Lucy Knisley and comics by Knisley, Box Brown, Jeffrey Brown, Brandon Graham and Mitch Clem, among others, is $11.99. (Here’s a review, and Johanna Draper Carlson, who picked it up at MoCCA, said “So far, the best anthology I’ve seen all year.”)
Dukes says the books won’t be reprinted. Details on the liquidation sale are here.
As the final days of summer start to waste away and you’re looking for something to enjoy before hitting the books for school, there’s no better place to find some good stuff to read than right here in our weekly What Are You Reading? column.This week our guest is journalist/blogger Heidi MacDonald, of The Beat and Publishers Weekly fame.
To see what Heidi and the rest of the Robot 6 crew have been reading, click below …