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 | DC Comics associate editor Janelle Asselin has left the company, reportedly for a job with Disney. She clarifies on Twitter that, contrary to a report, she wasn’t escorted from the building on Tuesday but, rather, left “at my leisure.” Asselin had been with DC since 2008, working primarily on Batman books like Batman and Robin, Batman: Streets of Gotham, Red Robin, Birds of Prey and the relaunched Batman, Batwoman, Detective Comics and Savage Hawkman. [Bleeding Cool]
Publishing | Longtime editor Betsy Mitchell is taking early retirement from her post as editor-in-chief of Del Rey, where she helped create Del Rey Manga. Tricia Pasternak, a former Del Rey Manga editor herself, has been promoted to editorial director. Del Rey was established as a science fiction prose imprint; the manga line was created in 2004 and was mostly shut down in 2010, when Kodansha began publishing its manga directly in the U.S. However, Del Rey still publishes a handful of manga and graphic novels, including xxxHolic, King of RPGs, and Deltora Quest. [Publishers Weekly]
Legal | In a twist that sounds like something out of a comic (or even an ad from an old comic), a witness in the Michael George trial testified he saw someone wearing an obviously fake beard outside George’s Clinton Township, Michigan, comics shop a few minutes before George’s first wife Barbara was murdered inside the store in 1990. [The Tribune Democrat]
Humorist Michael Kupperman is the kind of storyteller that prompts a (long thought dead) legendary writer to reveal he’s undead. Such is the offered backstory on Kupperman’s new book, Mark Twain’s Autobiography 1910-2010, described by Fantagraphics as follows: “From WWI to the Great Depression, WWII to Woodstock, and through the present, Twain details his careers as an ad man, astronaut, hypnotist, Yeti hunter, porn star, drifter, grifter and more, rubbing shoulders and having never-before-told adventures with many major figures of the 20th Century.” After covering his new collection of writing and illustrations, Kupperman discusses the upcoming series of live performances (set to start tomorrow with his solo appearance, but future installments will often be in conjunction with Kate Beaton)—and how performing his work helps him gain a sense of his material. Once you’ve read the interview, be sure to peruse the publisher’s 32-page book preview and Kupperman’s reading of the Ant I Am Telling You portion of the 160-page book.
Tim O’Shea: Have you heard what Mark Twain thinks of what you did with the manuscript he gave you, or do you expect never to hear from him again?
Michael Kupperman: Actually I’ve been hearing from him a lot. I thought that one meeting would be it, but since then he keeps reappearing, asking for help dealing with today’s publishing industry. He’s written a new novel called Prairie Rumpus, which I feel is dated in its use of slang and locale. Meanwhile I’ve got a lot of interest in my novel The Fart Vampires, a lotta heat building up.
The winners of the 2011 Ignatz Awards were announced this weekend at SPX, the Small Press Expo in Bethesda, Md. Nominees for the awards were chosen by a jury of five creators and voted on by attendees at the show.
Congratulations to this year’s winners:
Outstanding Mini Comic: Ben Died of a Train, Box Brown
Outstanding Anthology or Collection: I Will Bite You, Joseph Lambert
Outstanding Online Comic: Hark! A Vagrant, Kate Beaton
Promising New Talent: Darryl Ayo Brathwaite
Outstanding Story: Browntown, Jaime Hernandez
Outstanding Series: Everything Dies, Box Brown
Outstanding Comic: Lose #3, Michael DeForge
Outstanding Graphic Novel: Gaylord Phoenix, Edie Fake
Outstanding Artist: Joseph Lambert, I Will Bite You
It’s time once again for our monthly trip through Previews looking for cool, new comics. As usual, we’re focusing on graphic novels, collected volumes, and first issues so that I don’t have to come up with a new way to say, “Jeff Lemire’s Frankenstein is still awesome!” every month. And I’ll continue letting Tom and Carla do the heavy lifting in regards to DC and Marvel’s solicitations.
Also, please feel free to play along in the comments. Tell me what I missed that you’re looking forward to or – if you’re a comics creator – mention your own stuff.
The Grave Doug Freshley – A lot of publishers are doing Weird Western comics lately and that’s just fine with me.
Spera, Volume 1 – I like the sound of this fairy tale in which a couple of princesses combine efforts to save their kingdoms. It’s not that I’m anti-prince, but that’s a cool, new way to do that story.
Captain Swing and the Electrical Pirates of Cindery Island – Warren Ellis doing Steampunk sounds thrilling, but really all they had to say was “pirates.” I bet this is still really good though, even if you’re pickier than I am.
Roger Langridge’s Snarked #1 – After a well-loved zero-issue, Langridge’s version of Wonderland gets its real, official start.
I’ll admit: I really wasn’t that upset about missing Comic-Con this year until this morning. It’s not that I suddenly realized, while reading tweets about people getting flights or arriving in the city, that the con was actually starting tomorrow – the lack of sleepless nights while so many are already freaking out about travel/accommodation/crushing crowds/everything else was actually rather refreshing, actually – but that I found out that 300 copies of Kate Beaton’s Hark! A Vagrant collection will be available early at the show.
And thus begins what I can guess without even googling are a thousand racy fanfics. But it’s also the premise, more or less, of cartoonist Dave Kiersh’s thoughtful, funny minicomic Amazons, which he’s now posted online in its entirety on his new site Teenage Archive. The strip imagines what life would be like if these pulchritudinous paragons of fierce femininity were to attend high school, navigating the uncharted waters of jocks, nerds, preps, angry teachers, uncaring administrators, and unyielding dress codes.
Kiersh’s About Me blurb on Teenage Archive reads “Afterschool specials and the American dream,” and that pretty much nails what his comics are like: Whimsical yet melancholy explorations of teenage lust, boredom, romance, and desire to escape — and adult desire to return. Amazons is more of a goof than his usual stuff, but underneath the silliness is something true about the way dudes idealize beautiful women and the sense of unattainable freedom and fulfillment these fantasy figures represent. Read it in tandem with Kate Beaton, Carly Monardo, and Meredith Gran’s “Strong Female Characters” for a very different but I think complementary take on the power such images have.
The latest round of conversation about women in comics was sparked by Adam P. Knave’s piece bemoaning the lack of women creators in the comics field (which he defines as monthly comics, obviously dominated by superheroes). Adam believes the root cause is that superhero comics have made themselves unattractive to women by portraying women solely as sex objects or targets of abuse. This led Heidi MacDonald to point out that there are plenty of women in the rest of comics, just not at DC and Marvel. And they are doing quite well, too.
Danielle Corsetto, for example. The Girls with Slingshots creator was interviewed by Carl Watkins of Guerilla Geek, and he asked her if she thought it was easier for women to break into webcomics than “traditional” comics. Her answer is revealing:
Yes, although I think it has more to do with the genre than the medium. Most comic books are aimed at boys, are serious, and have a focus on superpowers. Most popular webcomics are character-driven and have to do with the characters’ lifestyles, or observations about science or philosophy, and almost all of them could be clumped into the broad category of “humor.” While I know plenty of women who genuinely love to read about superheroes, I think that, generally, most women prefer to read (and write) about how characters interact with one another, and not how they’re gonna pulverize each other.
So perhaps it’s not just the terrible portrayals of women but also the type of story that’s being told? Saying “women like this, men like that” is a sure way to get yourself called an idiot on the Internet, and certainly there are plenty of women superhero fans, but I can see her point. There’s a coldness to superhero comics that I find off-putting, and they often bore me in the same way battle-action manga do. That sounds like a value judgment, but it isn’t: The people who read Twilight and Vampire Knight are mostly female, so it cuts both ways.
On the other hand, perhaps if more women were writing superhero comics, there would be more superhero comics that women would want to read.
Did I miss any?
It’s not exactly pirates vs. ninjas, but there has been, shall we say, some ill feeling between webcomics creators and the National Cartoonists Society over the years. But there comes a time to put away childish things, including feuds, and this year the NCS actually invited three webcomics creators—Kate Beaton, Randall Munroe, and Dave Kellett—to present a panel at their annual meeting, which was held this past weekend in Boston. Naturally, Kellett worked this event, along with some of the high points of the evening, into his daily webcomic, Sheldon.
The big news of the evening was that Richard Thompson won the award for outstanding cartoonist of the year, an honor that anyone who reads Cul de Sac can tell you was well deserved. The award for best newspaper strip went to Jeff Parker and Steve Kelley’s Dustin, Jill Thompson won the Best Comic Book Award for Beast of Burden, and Joyce Farmer took Best Graphic Novel honors for Special Exits.
This has gotten around the Internet pretty well, but just so there’s no excuse for anyone not to have seen it: Kate Beaton’s series of Lois Lane comic strips does a really good job of showing how cool that character should be. There are only two explanations for Lois’ never figuring out that Superman was Clark: a) she was too dumb to put it together; b) she was too busy to care. I know which option DC continuity endorses, but I also know which one I prefer.
Beaton admits to not having read a lot of Lois Lane comics, but that’s probably for the best. Her interpretation is based instead on Lois and Clark, old Fleischer cartoons, and Dean Trippe’s unpublished Lois Lane, Girl Reporter pitch.
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.
Over at ComicsAlliance, Laura Hudson has a real treat for those of you who like your superhero comics with an alternative twist: 50-plus pages of sketches, thumbnails, pencils, inks, color studies and more from the Strange Tales II hardcover, which debuted this week. Click on over and get a glimpse at the creative process behind contributions from Kate Beaton, Jeffrey Brown, Ivan Brunetti, Farel Dalrymple, Rafael Grampa, Dean Haspiel, Jaime Hernandez, Paul Hornschemeier, Benjamin Marra, Edu Medeiros, Harvey Pekar, Frank Santoro, and Paul Vella. That’s hella Strange!
How much do you love Marvel’s Strange Tales anthology? The mixing of independent talent with these mainstream comic icons is truly something to behold, and it looks like Marvel is continuing that with the recently leaked cover to the second volume’s collected edition.
Cartoonist Paul Hornschemeier recently released the cover he designed for Strange Tales II (as you can see on the right) , which features Hornschemeier’s design sensibilities with the art of Kate Beaton. Hornschemeier calls Beaton “one of the best, most pitch-perfect cartoonists working today,” and said he knew she wanted her work on the cover even before he started going through the book’s contents.
Make with the clicky to Hornschemeier’s blog to see the cover at a larger size as well as the back cover and more thoughts on the whole project.
Okay, nerd internet, job well done — you can go ahead and retire now.
(Dare I point out that showing Batman strutting his stuff even in the midst of crimefighting turns him into gag-strip fodder — thus revealing how totally idiotic it is for female superheroes to constantly be shown doing the exact same thing? Or will that bring out the anti-Beaton He-Man Woman Haters Club again?)