Max Landis' New Comic, "Green Valley," Presents a Fantasy-Free Tale of Knights and Redemption
Conventions | Ahead of this weekend’s Chicago Comic & Entertainment Expo, the Chicago Tribune looks at the growth, and the economics, of the convention, which last year drew a reported 71,000 attendees — about 40 percent of which come from outside Illinois. [Chicago Tribune]
Festivals | More than 40 French publishers, including all the major publishers of graphic novels, have signed on to a press release saying they won’t participate in next year’s Angouleme International Comics Festival without significant, fundamental changes in the way it’s run. The signatories include almost every publisher that was at this year’s festival. Guy Delcourt, head of Delcourt publishing and the president of the BD commission of the national publishers’ association, said there have been problems with the festival for a long time, and attendance has been dropping, but after this year’s omission of any female nominees for the Grand Prix and the unfunny fake awards ceremony, he is fed up with the whole thing. Delcourt stopped short of calling for executive director Franck Bondoux to resign, saying the problem is not with one individual but with the entire structure of the festival, which is overly complex and opaque. The publishers have asked the Minister of Culture to name a mediator to work with them to solve the problema and give the festival, in Delcourt’s words, “the governance it deserves.” [ActuaBD]
Retailing | Online retail giant Amazon will open its first brick-and-mortar store this morning in Seattle’s upscale shopping center University Village. Called simply Amazon Books, the store features between 5,000 and 6,000 books, from bestsellers to Amazon.com customer favorites. “Amazon Books is a physical extension of Amazon.com,” Jennifer Cast, vice president of Amazon Books, said in a statement. “We’ve applied 20 years of online bookselling experience to build a store that integrates the benefits of offline and online book shopping.” As The Seattle Times notes, the opening arrives with a dose of irony: For years Amazon has been able to undercut most other retailers largely because it didn’t have any physical locations. [The Seattle Times]
Comics | David Harper examines why Marvel and DC remain important — “indispensable,” even — despite the ascendance of creator-owned comics. “Opposite to what it was before where you’d form yourself in your own comics and then graduate to the big companies, now the big companies are going to form you in order to graduate you to your own comics,” Marcos Martin explains. “That’s why I think Marvel and DC are indispensable. They’re great. That means there is an industry. We need that industry in order to bring creators and form them so they can at one point put together their own stories.” [Sktchd]
First Year Healthy (Drawn and Quarterly): Technically not comics, this illustrated prose picture book for adults is still of great interest to us because of its author/illustrator, Michael DeForge, and its publisher, Drawn and Quarterly.
It’s also of interest because of its compelling quality.
In matter-of-fact first-person narration, DeForge tells the story of a young woman who just got out of the hospital, having suffered some traumatic event or disease that alienated her from many of those around her. She chronicles her relationship with a man, to whom she refer only as “a Turk.”
After she moves in with him, he takes a job out of town doing something for a vaguely criminal associate and, one day, never returns, leaving our narrator to deal with the people in his life: the landlady with whom he fathered a child while exchanging sex for rent, that child and, eventually, the criminal associate. There’s also a magical cat creature, which plays a small but ultimately vital role in the short story.
Conventions | With the long-planned expansion of the San Diego Convention Center stalled indefinitely, the Los Angeles Times offers an overview of efforts to keep Comic-Con International in the city past 2016, and what suitors like Los Angeles and Anaheim, California, have to offer. “The proposals we’ve received are pretty amazing,” says Comic-Con spokesman David Glanzer. “It’s not an easy decision.” However, the San Diego Tourism Authority remains confident that convention organizers will sign a deal — possibly with a month — to remain in the city through 2018, based on an agreement for nearby hotels to offer their meeting space for Comic-Con programming. (The Tourism Authority has already asked hotels in the Comic-Con room block to freeze their rates at 2015 levels for the next two years.) [Los Angeles Times]
I got to know Ryan Sands almost 10 years ago, when he was publishing the strangest manga I had ever seen on his blog Same Hat! Since then, I’ve watched him follow his enthusiasm for innovative comics as the publisher of the Electric Ant zine, the translator of Suehiro Maruo’s The Strange Tale of Panorama Island for Last Gasp and now, as he explained to Chris Mautner in August, the creator of his own small press, Youth in Decline.
His flagship publication is Frontier, an anthology series in which each issue is a complete comic by a single creator. Frontier ended 2014 strong with comics by Emily Carroll and Sam Alden, and this year’s lineup looks equally good, with Jillian Tamaki, Anna Deflorian, Becca Tobin and Michael DeForge on the roster.
Sands has signed up some of the most interesting up-and-coming creators in the indie comics scene and has presented their works in interesting and sophisticated ways, so I asked him to talk to me in depth about his work on Frontier.
Brigid Alverson: The Frontier anthology seems to be evolving into a place for side stories or experimental work by creators who are already working on other, longer projects. Do you think these comics would be published if not for Frontier?
Ryan Sands: The goal for the Frontier series is to spotlight each individual artist and a distinct story or collection of work. I tried to set out the goal pretty explicitly on our site when starting Frontier, saying we’d focus on three types of books: up-and-coming talent in the North American indie scene, introducing the work of international artists I like, and presenting “uncommon dispatches” from more-established creators. The first year of Frontier was mostly focused on the first two goals, but with Sam Alden and Emily Carroll’s books — and now with Jillian Tamaki and Michael DeForge creating issues for 2015—I’m hoping to mix in some of these interesting stories from established creators.
Creators | A U.K. researcher argues that Marie Duval was the real creative force behind the wildly popular 19th-century British comic Ally Sloper, which is largely credited to her husband Charles Ross. Duval, the pen name of French cartoonist Emilie de Tessier, drew the character at the height of his popularity in the 1860s and ’70s, but historian David Kunzle now questions what role Ross actually played in his creation. [The Guardian]
Commentary | Chase Magnett pushes back on Chris Suellentrop’s statement, made in a column about GamerGate, that comics are “a medium that has never outgrown its reputation for power fantasies and is only very occasionally marked by transcendent work (Maus, or the books of Chris Ware) that demands that the rest of the culture pay attention to it.” [Comicbook.com]
Editorial cartoons | The New York Times has apologized to readers who were offended by an editorial cartoon about India’s space program that depicted the country as a man in traditional dress, leading a cow and knocking at the door of the “Elite Space Club.” “The intent of the cartoonist, Heng Kim Song, was to highlight how space exploration is no longer the exclusive domain of rich, Western countries,” reads the apology, signed by editorial page editor Andrew Rosenthal. “Mr. Heng, who is based in Singapore, uses images and text — often in a provocative way — to make observations about international affairs. We apologize to readers who were offended by the choice of images in this cartoon. Mr. Heng was in no way trying to impugn India, its government or its citizens.” [The New Indian Express]
The Ignatz Awards were handed out Saturday night at Small Press Expo in a ceremony that culminated with a mock wedding in which Simon Hanselmann married Comics (represented by a stack of graphic novels and real-life creator Michael DeForge).
Named in honor of the brick-wielding mouse in George Herriman’s Krazy Kat strip, the festival prize recognizes achievement in comics and cartooning. Nominees are selected by a panel of five cartoonists, and then voted on by SPX attendees.
Conventions | Marking San Francisco’s third year without WonderCon, pop-culture critic Peter Hartlaub relates the feelings of “confusion, withdrawal and anger” experienced by local fans, and explains why city leaders should care whether the convention ever returns from Anaheim. [SFGate]
Creators | Gary ODD Edmund combined two things he loved, comics and “marijuana culture,” to come up with the comic The Bud. While weed may be the news hook in this story, the numbers are interesting as well, as Edmund claims to have made $10,000 last year selling The Bud at comics conventions, where he typically moves 200 to 300 copies per event. He is now at the point where it’s worth his while to drop other projects to make more time for The Bud, and he figures his Bud-related income will at least triple this year. Can’t make it to a comic con? There’s a digital version as well, available via indie publisher CCP Comics. The digital release of The Bud (on 4/20, of course) drew so much traffic it crashed CCP’s website. [AOL Jobs]
Legal | Algerian cartoonist Djamel Ghanem is seeking asylum in France as the prosecution and plaintiff appeal his acquittal on charges that he insulted Algeria’s president in an unpublished cartoon drawn for the newspaper Voix d’Oranie. The newspaper brought the criminal charges against Ghanem; in possibly related news, Ghanem is suing his employer for seven years’ unpaid wages. Ghanem now claims Algeria wants to make an example of him. [Radio France International, Ennahar Online]
Conventions | Mark Rahner, who has been going to Emerald City Comicon since the first one in 2003, initially as a reporter and then as a creator, talks about why the event has grown so big (75,000 attendees are expected this weekend) and why it’s still awesome anyway. [Seattle Weekly]
Normally, when we talk about art – which, of course, is different from mere entertainment – we like to phrase it in rarefied terms. We tend to want our art to focus on the examination or discussion of high-minded ideals like truth, beauty, justice, wisdom, or the existence of a sentient spiritual being and subsequent afterlife. Stuff like that. We want our movies, music and books to be concerned with the ethereal world, and not so much with the physical one, especially unpleasant or embarrassing tasks like defecating or sexual congress. Being reminded that only a thin layer of skin holds in all those slimy organs, blood and other icky stuff keeps us from musing on what special snowflakes we all are (not to mention the horror of our own eventual death).
When we do acknowledge that stuff, it tends to be in the form of “low” comedy or horror films, where jokes about going to the bathroom, violence, lustful urges and other aspects of our daily physical lives that make us uncomfortable, can be digested more easily because we often exhibit it in as loud and gross a manner as possible.
But delving knee-deep into viscera and body fluids doesn’t ipso facto mean you have to forego subtlety, nuance or poetry. Take Johnny Ryan’s Prison Pit series for example.
Koyama Press’ latest announcement arrived in my in-box while I was on my way home from Angoulême, so I’m just now getting around to it, but it’s impressive enough to merit a bit of belated blogging.
As Koyama Press is a small publisher, the list is short: six titles all together, four for adults and two for kids. But there’s some interesting range to it, and the books are packaged attractively and displayed in a way that makes you want to read each one for different reasons, which isn’t necessarily the case if you’re just looking at a stack of random art-comix. One thing I really enjoyed, as I was reading through their catalog descriptions, was their use of high-concept blurbs. “Richard Scarry and Rube Goldberg collide in John Martz’s whimsical comic book world.” Bring it on!
While children’s comics may seem like a stretch, it’s one of the fastest growing sectors of the comics market, and one can see a niche for books that appeal to children and adults on different levels (such as Luke Pearson’s Hilda books, published by Nobrow Press) and for children’s books that are far off the commercial beaten track. The challenge will be to get them in front of parents and children who aren’t regular readers of The Comics Journal. It will be interesting to see if librarians climb on board; that could be a game-changer.
Anyway, here’s the list:
Controversy | Zainab Akhtar has a good roundup of the SodaStream controversy: A number of internationally known creators have protested SodaStream’s sponsorship of the Angoulême International Comics Festival because the soft-drink manufacturer has a factory in the Israeli-occupied West Bank. “All of Israel’s settlements in the Occupied West Bank are illegal under international law, and SodaStream’s factory in specific was build on land seized from several Palestinian villages in what is regarded as the largest single act of expropriation by the Israeli government in its 47-year long military occupation of the West Bank,” the organizers of the protest said in a statement. A number of artists, including Jacques Tardi (whose work was celebrated in a special exhibit at the show) have signed an open letter to festival organizer Frank Bondoux, asking him to end the relationship with SodaStream. Tardi also issued a statement saying he felt that he had been “taken hostage,” as he did not know about the sponsorship until the festival began. [Comics and Cola]