Archive for Comics

Dancing on the Manhole Cover: The Genius of Richard Thompson (at The Comics Journal)

Richard Thompson, The Complete Cul de SacThe great Richard Thompson, creator of the best comic strip of the 21st century (so far), passed away last week.  If you don’t know his Cul de Sac, you really should.  The easiest way to acquaint yourself with its (and his) genius is to pick up a copy of The Complete Cul de Sac — two volumes, covering all 5 years, with an introduction by Art Spiegelman.

In case you need further persuasion, you might take a look at my brief essay in today’s issue of The Comics Journal.  Here’s a little excerpt:

Its ability to generate joy in each rereading is one reason that Cul de Sac will endure, even though its creator has left us. Richard Thompson lives on in his work precisely because his work is so alive. His line is loose but solid, scribbly yet calligraphic, energetic but focused. Each panel of Cul de Sac — heck, each corner of each panel — is full of art, humor, and character.

And here’s a Cul de Sac:

Richard Thompson, Cul de Sac, Feb 2011

Many other great tributes and essays:

More Cul de Sac posts on this blog:

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A Report from Comic-Con 2016

Designated Survivor ad, side of building, downtown San Diego, 20 July 2016[Taps microphone.] Greetings, fellow nerds, fans, and affiliated wanderers! If I may interrupt the daily (hourly?) reports of chaos and pain that saturate your newsfeed, I’ll bring you what I hope is a satisfying report from this year’s Comic-Con. Yes, while the Republican National Convention was busy opening a hellmouth in Cleveland, I was in San Diego, learning and talking about comics. In some wonderful ways, Comic-Con is the opposite of our contemporary dystopian moment.  In other ways, it’s also symptom of that same moment.

Sure, I’m aware that Comic-Con is now an entertainment-industry promotion-palooza (also featuring comics). I know that every available surface entices us to consume (watch the new show, buy the action figure, get the Lego set, etc.). And I’d love it if it comics were more of a central focus than they now are.

But to accentuate the positive for a moment, Comic-Con is a community of nice people — whether they’re comics people or TV-and-film people, whether they’re immersed in a fandom or not, whether they’re cosplaying or dressed as civilians. (I cosplay as a middle-aged English professor. This is my third Comic-Con, and my, er, costume is getting more convincing every year, if I do say so myself.)

So, read on for G. Willow Wilson, Jeff Smith, Kate Beaton, tips on teaching with comics, random observations from yours truly, and more!


WEDNESDAY

Temperatures Rising

Walking Dead: ID for ComicCon 2016Situated on the coast of southern California, San Diego’s weather is predictably pleasant. Usually. After landing midday on Wednesday, I took the bus to several blocks from my hotel, and walked… getting hotter and hotter. Daily, temperatures edged into the upper 80s Fº (above 30º C), a trend that will become normal as the climate changes. In response to more imminent existential threats, this is the first year that Comic-Con no longer uses paper badges in a plastic sleeve. Each person’s badge has a unique ID card that must be scanned every time she or he enters or leaves the convention center. Conference sponsor The Walking Dead was on this year’s badge. Enjoy that metaphor because it will return.

Teaching with Comics

Teaching With Comics panel

I started my Comic-Con by drawing pictures. From 4 to 6 pm, at the San Diego Central Library, Peter Carlson (Green Dot Public Schools), Antero Garcia (Colorado State University), and Susan Kirtley (Portland State University) led a workshop featuring classroom educators Samantha Diego, James Kelley, and Jenn Anya Prosser.

Susan Kirtley (a 2013 Eisner-winner for her book on Lynda Barry) asked us what comics are, which is always great because there are so many different definitions. After people offered some answers, she highlighted the answers of Will Eisner, Scott McCloud, Dylan Horrocks, though of course we could bring in others (as I expect she would have, had she more time) such as Thierry Groensteen, Charles Hatfield, or Hillary Chute.

Her comments reminded me, also, that some people face resistance to teaching classes on comics.  She told us that if people are skeptical of why you’re teaching comics, to tell them you’re “teaching graphic narratives as a way to promote multimodal literacy.” Resistance to studying comics interests me because it’s one of the most complex narrative media ever invented. There is so much to say about it.

She also took us through a few exercises.  One was this, which is inspired by Ivan Brunetti’s single-panel comic exercise in Cartooning Philosophy and Practice.

Kirtley (inspired by Brunetti) slide

We had 1-2 minutes to do this.  Here’s what I came up with for Guus Kuijer’s The Book of Everything.

Nel, The Book of Everything, in 4 panels (created in 1-2 mins.)

She then had us all do a one-panel version.  In Cartooning Philosophy and Practice, Brunetti does a single-panel Catcher in the Rye.  It’s brilliant.

Ivan Brunetti, Catcher in the Rye

Mine — done in 1 minute — for The Book of Everything is not brilliant. Obviously.

Nel, The Book of Everything, in 1 panel (created in 1-2 mins.)

But this brings me to another key part of her pedagogy. She does these exercises with her students. “I do it when they do it,” she says, because that levels the critical plain.  She also encourages us teachers to reward students’ risk-taking at moment of assessment: “Make it OK for students to fail — and don’t penalize them for that.” Susan builds in rubrics that take into account the entire process. I like this.

Peter Carlson and Samantha Diego spoke on “Engaging Readers, Empowering Writers, Creating Communities: Civic Superheroes,” via the idea of the superhero.  They asked us:

What superpowers do you want?

Why?

Those questions elicit an array of profound responses. One grade-school student had told them invisibility to prevent the other kids from making fun of her appearance.  In our older crowd, answers included persuasion, and healing.  I and at least one other audience member chose healing as our superpower.  When I talked with Susan afterwards, she said that this superpower — healing — really appealed to her, too.  This makes sense. As we age, mortality looms larger. In the Dallas airport, en route to Comic-Con, I read a 43-year-old friend’s (likely) final column for her local paper. Aided by an unrelenting brain tumor, death will likely claim her before the year is out. As I’ve written elsewhere on this blog, we all must face the inevitability of our own deaths. I don’t conceive of the healing superpower as an end-run around death, but a way to alleviate suffering on that journey towards the moment when our time finally runs out. For her, perhaps the superpower could buy her more time or at least enable her to retain her cognitive abilities. Even superpowers have limits, I know.

G. Willow Wilson, Ms. Marvel: No NormalReturning to the exercise, some follow-up questions from Carlson and Diego:

What would you do with those powers?

Where would you go?

Who would you become?

They also suggested that the first issue of a comic — say, Ms. Marvel or Storm — can be a good way into these discussions.

Jenn Anya Prosser had us close-read some panels, but I failed to take notes on that (since it’s something I already do). Antero Garcia and James Kelly addressed why we should teach science and English together, and suggested that comics can be a great way to have these conversations.  Comics ask big questions:

What does it mean to be human?

What does it mean to be mutant?

What does it mean to be other?

What does it mean to be?

Science addresses these questions, too. They can also help students think about genetics, viz:

Garcia & Kelly's slide

Preview Night

Afterwards, it was Preview Night!  Though we could have gone to watch previews of not-yet-released shows, Susan Kirtley and I instead zeroed in on the comics sections of the exhibit hall, where I squandered aimlessly — well, not entirely aimlessly. As usual, I bought more than I should — both that night and on subsequent days. But accumulating books is an occupational affliction.  And, hey, it’s good to give your spine a workout, right?

ComicCon 2016: Phil's books and swag

Also, on Preview Night, the crowds are not as thick as they become on subsequent days.  But the hall is always something of a sensory overload.  I sometimes think that Comic-Con should have strategically placed sensory deprivation chambers where Con-goers could sit and decompress for five-to-ten minutes at a time.  There’s a lot to take in.

SDCC exhibit hall floor 21 July 2016

Wonder Woman at 75

From the MAD magazine booth:

MAD: Make America Dumb Again

I chatted with some of my Fantagraphics pals, as well as folks I didn’t know at other booths. Susan and I also met Snoopy — who, to my delight and surprise, did not attempt to sell us any insurance. Then we went off to dinner & had a great chat! (By “we,” I mean Susan and me. Snoopy declined our invitation. Presumably, that round-headed kid had already fed him.)

Kirtley, Snoopy, & Nel


THURSDAY

The Jogging Dead

Balboa Park is a few blocks east of the Holiday Inn Express I stayed in. So, first thing Thursday morning, I thought: great, I’ll just jog east, find my way into the park, and have a good run! A helpful person at the hotel’s front desk assured me that there were many ways into the park, and pointed me in the right direction.

However, and unlike New York City, San Diego’s streets and signs offer guidance to cars, not pedestrians or runners.  Though Park Boulevard runs along the edge of the park, it offers few points of access to the park itself, and then (when you finally get in) the park has signs promising trails that turn out to dissipate suddenly. As a result, for part of my journey back, I ended up running in the bike lane along Route 5. Like all places in downtown San Diego, I was never far from the city’s robust homeless population — encamped at the edges of city sidewalks, against a fence in the shade of trees on Park Boulevard, and just off the edge of the highway. Luckily for me, they (and other walkers) had beaten a path from Route 5 back to the city streets I sought.

Part of the Comic-Con experience is always the contrast between the shiny abundance promised within the event and the privation of those who live on the streets outside. Whether silently holding a sign asking for help or sound asleep on the ground, San Diego’s homeless are both politely invisible and a vivid reminder of how America actively neglects its most vulnerable.

At first, I thought our Walking Dead ID cards an apt metaphor for the homeless among us, but now I think them a better metaphor for the conference-goer — walking past suffering, declining to admit that we are seeing what we know we’re seeing. I gave one sign-bearing man $5. I think, in future, I should carry small denominations and just give them to each person begging. I honestly don’t know. But I do know that we do need investment in mental health facilities, affordable housing, and job retraining for those down on their luck.  OK, getting off my soapbox and back to the con….

G. Willow Wilson; or, Ms. Marvel Fans Embiggen

G. Willow Wilson panel

To a full room that included at least nine people dressed as Ms. Marvel, Ms. Wilson introduced herself: “I’m Willow Wilson. I tell people: ‘the G is silent.’” Interviewed by her friend Josh (I didn’t get his last name), she told us about herself — which was great because, though I know her Ms. Marvel comics, I did not otherwise know much about her.

Wilson was born in New Jersey, but grew up in Colorado. As for religion, she said, “I was raised an atheist, but I was never very good at it. When I was a teenager, I realized that I was a particular kind of monotheist, but I was embarrassed about it.”  Indeed, when she did convert to Islam, she did so in secret — not telling anyone until later.

She studied Arabic for two years at university, and then at the age of 19 left for Cairo, where she would live for the next five years. Upon arriving, she realized that the Arabic she had learned was classical Arabic, which, she says, “would be like learning how Shakespeare speaks.” So, she had to learn modern Arabic. Which she did. While working there as a journalist, she met her future husband Omar.  They and their two children now live in Seattle.

G. Willow Wilson, Air #1She and Sherman Alexie share a publisher, and live about 12 blocks from each other. When she was starting out (having published, I think, Air, and Cairo), she was headed to a conference. Her publicist advised her: when you get on the plane, look for Sherman Alexie and share a cab after you get there. So, she’s walking through First Class on her way to coach, and Alexie spots her.

Alexie: Are you G. Willow Wilson?

Wilson: Yes.

Alexie: I loved Air!

G. Willow Wilson, Ms. Marvel: Generation WhyOf all that she said during her conversation, this struck me as the most profound: “You are sometimes able to get to people through fiction what you cannot get through to them through the nightly news.”  Her Ms. Marvel is, I think, the embodiment of this very idea.

When Marvel asked her to do Ms. Marvel, Wilson says her “first thought was ‘no’ because there’ll be all kinds of blowback.” She figured she would get lots of hate mail, just as she had gotten for previous work. But, she said, “when Marvel comes to you and says they’ll put their weight behind a project like this, you have to say ‘yes.’ I said ‘yes.’”  Writing the Kamala Khan Ms. Marvel comics were “a cool opportunity to shed positive light on a community that does not get a lot of positive attention.”  When the first one was published, she thought: “Brace for impact!” But the impact she expected never really materialized. Sure, there was a little hate mail, but response was mostly positive. She concludes, “It was one of the most life-affirming things I have ever done.”

She concluded her session by reading Chapter One of The Bird King, a new novel set in 1491. As she said before she began, “You guys will be the very first people to hear it who are not paid to like it”

There was only time for two questions at the end.  Here they are.

First question was: Advice for women creators who want to get into the industry? Wilson: “The good news is this is now a discussion we can have without people losing their jobs. People are now taking subjects like harassment, equal access to corridors of power more seriously. But there’s a lot of work to be done.”

Second questioner referenced the fact that there are no black women comics writers (at Marvel or DC), and asked “How does that make you feel when you’re writing one of the most nuanced and awesome [characters of color]”?  Wilson replied, “We need to be in the business of recruiting more people.  I love Ta-Nehisi Coates.  Sitting in the Marvel writers’ room, with him across from me, was one of the highlights of my career. But you shouldn’t need to have a MacArthur Genius grant to get hired to write comics.”

Note: The very next day, Roxane Gay tweeted that she has been hired by Marvel to co-write a comic with Ta-Nehisi Coates.

But the greatest thing about this panel were all the people who dressed as the Kamala Khan Ms. Marvel. After the panel was over, they all gathered with Wilson to embiggen!

Ms. Marvels Embiggen!

Cushlamochree! Or, The Kindness of Strangers

GhirardelliAfter lunch, I stopped into the Ghirardelli shop because, well, chocolate.  I had a chocolate ice cream, and reviewed the notes I’d made that morning. In a few hours, I would be appearing on a panel devoted to Crockett Johnson’s Barnaby (1942-1952), which I’m co-editing and Fantagraphics is publishing. (The third volume just came out.)  Typically, I tend to perform a script, or to at least consider the possible questions in advance. But this panel was mostly unscripted, and so I was a little anxious.

A young couple walked past my table, and then walked back, and the young man asked if he could use the plug next to me. I said of course! And I moved over so that he could sit where I had been sitting, and his girlfriend could sit opposite him. He asked what I was doing. I told him. He said: OK, pitch it to me. And… I did. This person who I have never met before listened, offered a little feedback, and helped me talk through the presentation.

I learned a little about him, too. He said, “Not to brag, but I’m the nerdier of us two.” I love that “nerd” is now a term of approbation. When I was his age (a phrase I never used while talking with him), one would not brag about being a nerd! He and his girlfriend are both seniors at San Diego State University: he’s a music major (jazz drummer, in particular). She’s a graphic design major. They were both working for Comic-Con because it grants them a free pass to the conference, and it’s fun to go to Comic-Con. I think her name is Morgan; his name has, unfortunately wandered away from me. If you two happen upon this blog post, thank you!

Encounters like this are what make Comic-Con a welcome respite from the news. There is kindness and generosity in the world. Not enough, but it is out there. It’s our job to make more of it. To quote Ram Dass, “We’re all just walking each other home.”

After that, it was back to the exhibit hall, a quick coffee and a chat with Eric Reynolds, and then…

Crockett Johnson’s Barnaby: What Makes a Great Comic Strip.

Barnaby panel: Tom Spurgeon, Eric Reynolds, Philip Nel, Jeff Smith

This was why I came to Comic Con — to be on this panel!  In the photo, from left to right, that’s The Comics Reporter’s Tom Spurgeon, Fantagraphics Associate Publisher Eric Reynolds (my pal, and co-editor on the Barnaby books), yours truly, and… Jeff Smith!

Whatever anxiety I’d had vanished instantly. The panel was a delight. As you may already know, Smith is as nice a guy as you would expect the creator of Bone to be. I’m also grateful to him for lending his celebrity to our quixotic endeavor. I’m sure that half of the small audience appeared simply to see him. (There were only about 25 people in a room that seats more like 300.) I hope our conversation — led by Tom Spurgeon — helped move a few copies of Barnaby.

Johnson, Barnaby Vol. 1: Chris Ware blurbYou see, Barnaby is the last great comic strip that has never been collected in full. Its admirers include Charles Schulz, Art Spiegelman, Chris Ware, Jules Feiffer, Seth, and Daniel Clowes (who designed the books, and would have been on the panel if he’d been on an earlier flight). Told in Johnson’s elegant clear line, Barnaby tells the adventures of its five-year-old title character and Mr. O’Malley, his loquacious, bumbling, endearing con-artist of a fairy godfather. O’Malley is a great character of possibility, allowing Johnson many opportunities to satirize politics, business, or (coming in volume 4) the emerging medium of television. The strip is both topical and a Calvin-and-Hobbes-esque fantasy. Just as only Calvin sees the reality of Hobbes, the children of Barnaby all see the fairy-world characters, but — also like Calvin and HobbesBarnaby’s adults fail to perceive the reality of fantasy. We readers, however, know that O’Malley and friends are real. Barnaby is a beautiful and influential strip, but — like Krazy Kat — it was never a popular strip. At its height, Barnaby was syndicated in a mere 52 papers. By contrast, at the same time, Chic Young’s Blondie was running in 850 newspapers.

Crockett Johnson, Barnaby Vol. Three (1946-1947), ed. Philip Nel & Eric Reynolds (Fantagraphics, 2016)

Fantagraphics is committed to bringing out all five volumes of Barnaby, and I love them for that. I also wish we could help find a larger audience. So, if you’re reading this, why not pick up a copy? Encourage your local or college library to pick up these, too, along with Fantagraphics’ many beautiful editions of classic comics (notably Krazy Kat and Peanuts).


FRIDAY

Breakfast with Ebony

Ebony Elizabeth Thomas & Philip Nel at the Broken Yolk, in San Diego, 22 July 2016Friday began at the Broken Yolk, where I had breakfast with Ebony Thomas — whose book The Dark Fantastic should see print in (I am hoping) the next year or two. It’s a really smart way of thinking about how the dark other functions in fantasy. (Make a note of it now, and pick it up when it comes out!)

I actually met Ebony at my very first fan conference — Nimbus 2003, in Florida, thirteen years ago.  I’d written a small book on the Harry Potter series, and they invited me to give a keynote. In this respect, I think our aca-fan (Henry Jenkins’ term for “academic fan”) trajectories are opposite. I went to academic conferences before ever appearing at a fan one, whereas my sense is that she had more fan conference experience prior to becoming an academic.

Part of the fun of conferences — whether academic or fan — is seeing friends, and making new ones.  So, good to see you, Ebony!  Hope you enjoyed the rest of the con!

Keeping It Short

Keeping It Short panel: Abraham Riesman, Kate Beaton, Lisa Hanawalt, Emily Carroll

Moderated by Abraham Riesman, this panel featured Kate Beaton, Lisa Hanawalt, and Emily Carroll.  Though the panel was on short comics, my notes are actually, um, a bit longer than expected.

Abraham Riesman: What short form comics did you read growing up?

Kate Beaton: Sherman’s Lagoon

Lisa Hanawalt: Garfield, Calvin & Hobbes, adult cartoonist B. Kliban

ArchieEmily Carroll: All newspaper strips. I read every one every morning, even if I didn’t like it — I read Rex Morgan every morning. I read a lot of Archie comics, which at the time had no continuity.

AR: What spoke to you about Archie?

Emily: The only comic that had really pretty girls in it.

Lisa: Me, too.  Did you like Betty or Veronica?

A discussion ensued on who preferred Betty, and who Veronica, but I didn’t note it all down.

AR: What does an average workday look like?

Kate: Some cartoonists work 9-5 with lunch breaks, but…

Lisa: I fuck around until 3 every day at least. But usually until 7.

Kate: It might take all day to get into that, until something is actually working.  [Kate then recalled 2 aunts coming to visit at around lunchtime, thinking she’d have a lunch break. That led her to imagine herself saying the following sentence to her aunts.] I just stare at the wall all day until something comes and you ruin my flow?

Emily [adding to Kate’s imagined comment]: Now I have to start wasting time all over again?  I try to start before the afternoon or else I feel bad. But early afternoon is when I start.

AR: How much planning before you draw the finished product?

Emily: I start drawing right away.  Whether it’s the beginning or end — just because I need to see it materializing.

Lisa: For me, it depends. If there’s a narrative, then I have to plan that out. But I also do improv comics. I did some corporate slogans, and the first draft is what got published because it was funniest. Because if I try to make it neater, it’ll be less so.

AR: I love “just fucking do it”

Kate: I write a lot in my head. So, especially, if it’s a three or four panel gag, I have it all in my head.  So, you get a nugget — that’s the angle I’m going to use. And you sort of tumble it around, until you get the right combination of things. If you work too hard on the drawing, it ruins it. I try to go for the energy that comes in the first few lines.

AR: How do you keep the emotion in the artwork?

Emily: My first thought is I only have a few emotions anyway. I either feel angry or guilty or I’m Ok.  …But my general thought is what [I failed to note the rest of her answer]

Kate: You’re not telling people how to feel. You’re showing them how you feel.

AR, to Kate: Any jokes you had to abandon?

Kate: Sure. Not all history is hilarious. You try to bring in a topic that isn’t funny, but should be shared.

AR, to Lisa: what’s funny about birds?

Lisa: What isn’t funny about birds? I just like looking at them — they’re hilarious.

AR: What’s the funniest thing about birds?

Lisa: When a toucan eats a bunch of fruit it [Lisa mimes action of toucan eating fruit, throwing it up into the air, gulping it down. Everyone laughs. She then adds an additional funny bird behavior:] When they sit on their nests.

Lisa Hanawalt, from Hot Dog Taste Test

Kate then offered a short discourse on fecal sacks. The young birds, who cannot yet leave the nest, poop in sacks. This allows the adults to throw their young’s waste out of the nest.  She recalled a grackle who lived near her, and used to decorate her car with these fecal sacks. Her car was blue, the grackles assumed that since it was blue, it must also be water.  Lisa found this story fascinating.  (I did, too.)

AR to Emily [re: earlier question on emotions]: You didn’t mention fear?

Emily: Oh yeah, that’s true.

AR: ‘Cause you write horror. How often are you afraid?

Emily: All the time. Every day.

AR: How much of Anne Herron is true?

Frontier #6: Anne by the Bed

Emily: Anne by the bed?

AR: Yes.

Emily: None of it.  I made it all up.  But it turns out there is an unsolved mystery of an Anne Heron (with one r).

AR: When I interviewed you a few months ago, Kate, you said that cartoonists are horrible to be significant others with at a party because they’re always there drawing.  Is that true for the two of you?

Lisa: I hardly do it anymore. But I used to because I was shy, and I thought it would be an ice breaker.

Emily: I don’t really go to social gatherings. [Laughter from audience.] So, that’s not an issue. I draw less now than I did before.

AR: How much does doodling influence your work?

Kate: Less and less.  Now, you’re like: I really need a different hobby.

All panelists agree that they now do less drawing for fun.

AR: How do you know how to represent time?

Led by Emily’s response, all panelists agree that they go by instinct, and then go back and edit — if it reads too fast, they’ll go back and put in something else to slow it down (says Emily).

All panelists addressed unpublished or unfinished work. All have work that they’ve decided not to publish, nor to continue.

AR: How often to you look at your finished old work?

Lisa: I look at it every couple of years. I go back, and think oh, hey, this is actually pretty funny.

At this point, Kate mentioned she wasn’t feeling well.  She apologized, and left for the washroom.

AR: Is your work ever misunderstood?

The answer to this question (which I failed to record) led to the next one.

AR: How often do you check Twitter, look at comments, or avoid them?

Lisa: I look at everything.  I really should stop.  I even read the Goodreads reviews.

AR: Oh, you shouldn’t do that.

Emily: Oh, I can’t look at those. I do, sometimes.

Did you ever read that Guardian essay about the person who gave bad reviews?

Lisa: Totally obsessed with that. Totally understand. Once I was at a convention, and a lady picked up one of my books, and threw it back down on the desk and ran away. I think about that all the time.

Emily: A few months ago, I just deleted all of my follows except for my wife and the library. So, that way, I couldn’t go and check all my follows. I’m becoming increasingly reclusive, I guess.

Lisa: That [not being on Twitter] sounds nice.

Emily: I realize that even the nice comments didn’t make me feel good!

At this point, Kate returns!

Kate: I’m doing much better.  I had my hair tied back, all ready to rumble.  But it was just poop.

Kate apologizes for including those bodily details.

AR: You’re sitting next to Lisa.

Lisa: I’m like in love with you right now.

Kate [explaining]: I’ve moved to the country, recently, and I don’t drink much any more….

Kate Beaton, Wuthering Heights 1

Kate Beaton, Wuthering Heights 2

AR: How often do you think about Wuthering Heights?

Branwell Brontë's painting of his three sisters, after he painted himself outKate: A lot. I never finished that comic.  I need to.  Anyone ever been to the Bronte parsonage?  I feel like haunted by Branwell [brother of Charlotte, Emily, Anne].  In a family portrait, there’s a weird person-shaped hole because he painted himself out.

AR: Don’t we all feel like a person-shaped hole?

Kate: I did just a few minutes ago.  [Kate then comments on Branwell, who was alcoholic…]  In these [Bronte] books, characters like these brooding frustrated men — like Heathcliff — make me think of Branwell.

In the Q+A, I asked Kate how her process of her picture book The Princess and Pony was different than comics.

Kate said that working closely with an editor was a big difference.  The book is much more polished than her cartoons.  Also, she said, it’s not just a gag. It has a story, and that had to make sense.

In response to a question about (I think) favorite horror narratives, Emily responded, “I like horror that’s really long and boring and nothing happens, and then something maybe happens and then it’s done.”

Questioner asked if they had a reader they trusted who they could turn to for feedback.

Lisa: For me, it’s my partner Adam. But also guys like these — I have a lot. Of cartoonist friends.

Emily: My wife will read over my work. She’ll say it’s too fast or too slow, and I’ll say you don’t understand my process and vision! And then I fix it.

Kate: Don’t read Amazon or Goodreads. [Quoting reviews] “I think there are secret gay people in the book.”  Or “I don’t want to expose my children to farts.”

30 Minutes to Go; brief conversations with Beaton & Sousanis

Kate Beaton's inscribed & illustrated title page for my copy of Step Aside, PopsAfter the panel, I had only 30 minutes before I had to leave. So, I dashed down stairs to the convention hall, where I hoped to meet up with Eisner nominee Nick Sousanis — who’d just arrived earlier that morning — and to say goodbye to the Fantagraphics gang.  Said my farewells to all but Eric (who was moderating a panel), texted back-and-forth with Nick, and decided, well, yes, I could buy just one more book. So, over at the Drawn & Quarterly I bought Kate Beaton’s latest, Step Aside, Pops, which she inscribed and decorated.

I also thanked her for The Princess and the Pony because it’s great to be able to give my princess-obsessed niece a book about a warrior princess. Kate recommended Cherie Priest’s I Am Princess X (2015) and Jeremy Whitley’s Princeless (2012-). I said “Emily’s 5. Would these…?” She said that they’d be for when she’s a bit older. Looking at them on-line, now, I see that I Am Princess X is a YA hybrid comics/text, and that Princeless is marketed to kids from ages nine to 12, which (I think) means that Princeless could be something she’s interested in sooner than that.

Nick arrived when only had about 5 minutes left. I stayed for 10, we chatted, parted, and — along the way back — I realized that, yeah, I really did need the full half hour to walk back to my hotel. Jogging a bit of the way, I narrowly made noon check-out and the shuttle to the airport.  (I had to leave because I’m scheduled to give a keynote at a picture books conference at Kent State on Monday. I’m leaving for that first thing tomorrow morning. Update: American Airlines cancelled my flight. So, I’m now scheduled to leave first thing tomorrow afternoon. Fingers crossed!)

The End?

So, I still worry that America is slouching towards fascism, that state-sanctioned murder threatens people of color every day, that extremism festers and erupts here (Make America White Again!) and abroad (most recently: Nice, Turkey, Munich, Kabul).  But, for a few days in San Diego, glimpses of a different possible future emerged — a future where people do not fear each other, but care for each other. A future where our interests bring us together. Yes, despair lingered at the edges of the Comic-Con experience, as it always does. However, the con was mostly a respite from the violence and hopelessness that afflicts us. And I’m grateful for that.

My previous years’ reports from Comic-Con:

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Children’s Literature and Comics/Graphic Novels at MLA 2016

MLA Convention: Austin, Texas, Jan. 2016

Attending MLA in Austin, Texas this January? These are all MLA sessions devoted* to children’s literature, children’s culture, or comics/graphic novels. There are other panels with individual papers on these subjects, but (to the best of my knowledge) these are the sole panels with a central focus on these areas of inquiry. If I’ve missed any panels, let me know!

_________

* N.B.: For the purposes of this document, “devoted” means that 50% or more of the panel addresses the subject matter. I assembled this via keyword searches of the conference program.


39. The Anxious Publics of Literature for Young People

Thursday, 7 January, 12:00 noon–1:15 p.m., 406, JW Marriott

Program arranged by the forum GS Children’s and Young Adult Literature

Presiding: Derritt Mason, Univ. of Alberta

  1. “Against the Assumption of Guilty Pleasure: Excavating Adult Readers’ Ethically Engaged Encounters with YA Fiction,” Ashley Pérez, Ohio State Univ., Columbus
  2. “Growth, Freedom, and Anxiety: The Displacement of Education in Contemporary School Stories for Young People,” David Aitchison, North Central Coll.
  3. “Young Readers, Young Heroes, and Dime Novel Hysteria,” Martin Woodside, Rutgers Univ., Camden

125. The Counterpublics of Underground Comix

Thursday, 7 January, 5:15–6:30 p.m., 10B, ACC

A special session

Presiding: Margaret Galvan, Graduate Center, City Univ. of New York; Leah Misemer, Univ. of Wisconsin, Madison

Speakers: Ian Blechschmidt, Northwestern Univ.; Jonathan W. Gray, John Jay Coll. of Criminal Justice, City Univ. of New York; Aaron Kashtan, Miami Univ., Oxford; Joshua Kopin, Univ. of Texas, Austin; Samantha Meier, independent scholar; Lara Saguisag, Coll. of Staten Island, City Univ. of New York

Session Description:

In the 1970s and 1980s, underground comics provided an opportunity for less dominant groups to form communities by representing alternative kinds of experience. Panelists aim to open up the conversation on underground comics to include the ignored voices, such as those of women, minorities, and LGBT communities in San Francisco and elsewhere in the United States.

137. Race, Ethnicity, and Culture in Jewish Children’s Literature

Thursday, 7 January, 5:15–6:30 p.m., 308, JW Marriott

Program arranged by the Children’s Literature Association and the forum LLC Sephardic

Presiding: Meira Levinson, Graduate Center, City Univ. of New York

  1. “Jewish-American Young Adult Literature and the Missing Global Jew,” June S. Cummins, San Diego State Univ.
  2. “American Novels of the Beta Israel: Narrating Exodus Abroad to Shape Alliances at Home,” Naomi Lesley, Holyoke Community Coll., MA
  3. HaMelech Artus: Concepts of Childhood in a Medieval Hebrew-Italian Arthurian Romance,” Esther Bernstein, Graduate Center, City Univ. of New York

Responding: Tahneer Oksman, Marymount Manhattan Coll.

180. Print, Materiality, Narrative

Thursday, 7 January, 7:00–8:15 p.m., 4BC, ACC

A special session

Presiding: Jeannine DeLombard, Univ. of California, Santa Barbara

  1. “The Politics of Format in Early Black Print Culture,” Joseph Rezek, Boston Univ.
  2. “Personifying Periodicals: Big Magazines and Modernist Form,” Donal Harris, Univ. of Memphis
  3. “‘Something to Hold Onto’: Materiality and the Graphic Novel,” Hillary L. Chute, Univ. of Chicago

222. Developments in Comics Pedagogy

Friday, 8 January, 8:30–9:45 a.m., 8A, ACC

A special session

Presiding: Keith McCleary, Univ. of California, San Diego; Derek McGrath, Stony Brook Univ., State Univ. of New York

Speakers: Maria Elsy Cardona, Saint Louis Univ.; Susan E. Kirtley, Portland State Univ.; Elizabeth Mathews Losh, Coll. of William and Mary; Elizabeth Nijdam, Univ. of Michigan, Ann Arbor; Joe Sutliff Sanders, Kansas State Univ.; Nick Sousanis, Univ. of Calgary

For abstracts and biographies, visit www.dereksmcgrath.wordpress.com.

Session Description:

Participants discuss how they have used comics and graphic novels to design unique courses in composition, language, literature, and new media, offering overlapping perspectives in program creation, multimodal integration, gender and cultural studies, and project-based learning. The session welcomes audience participation to discuss new approaches in teaching comics.

248. The Afterlife of Popular Children’s Culture Icons

Friday, 8 January, 10:15–11:30 a.m., 203, JW Marriott

Program arranged by the Children’s Literature Association

Presiding: Paul Cote, Univ. of Maryland, College Park

  1. “From Madcap to Mourning: The Muppets after Henson,” Paul Cote
  2. “The Afterlife of the Boy Who Would Not Grow Up,” Carrie Sickmann Han, Indiana Univ.–Purdue Univ., Indianapolis
  3. “How Do You Solve a Problem like Mickey Mouse?” Peter Kunze, Univ. of Texas, Austin
  4. “‘His Active Little Crutch’: The Adaptations and Influence of Tiny Tim,” Alexandra Valint, Univ. of Southern Mississippi

297. Children’s Literature Scholarship and Its Publics

Friday, 8 January, 12:00 noon–1:15 p.m., 303, JW Marriott

Program arranged by the forum GS Children’s and Young Adult Literature

Presiding: Philip Nel, Kansas State Univ.

Speakers: Julie Danielson, Seven Impossible Things before Breakfast; Marah Gubar, Massachusetts Inst. of Tech.; Don Tate, Artist and Author; Ebony Elizabeth Thomas, Univ. of Pennsylvania

Session Description:

Because children’s literature is so popular, and children’s literature studies is an interdisciplinary field, scholars of young people’s literature have always addressed multiple publics—work continued today through social media. What are the risks and rewards of this more expansive, inclusive kind of work? Who does it? How is it valued? Should it be valued more, and—if so—why?

314. New Work in Language Theory

Friday, 8 January, 12:00 noon–1:15 p.m., 305, JW Marriott

Program arranged by the forum TM Language Theory

Presiding: Thomas F. Shannon, Univ. of California, Berkeley

  1. “Creating and Translating Ideophones in Italian Disney Comics: A Linguistic and Historical Inquiry,” Pier Pischedda, Univ. of Leeds
  2. “An Aspect of Interdigitations: Lexical Blending in Language Contact,” Keumsil Kim Yoon, William Paterson Univ.

318. Fables, Folktales, Games, and Comics: Folklore and Visual Media

Friday, 8 January, 12:00 noon–1:15 p.m., 407, JW Marriott

Program arranged by the American Folklore Society

  1. “Representing Black Folk: Jeremy Love’s Bayou and African American Folk Culture,” Jonathan W. Gray, John Jay Coll. of Criminal Justice, City Univ. of New York
  2. “Animal Terrorism: Adam Hines and the Crisis of the Animal Fable,” Christopher Pizzino, Univ. of Georgia
  3. “Slippers, Pumpkins, and Branches: Resisting Walt Disney in Disney’s Cinderella (2015),” Katie Kapurch, Texas State Univ.

Responding: Alexandria Gray, Univ. of Washington, Seattle

421. Satire and the Editorial Cartoon

Friday, 8 January, 5:15–6:30 p.m., 311, JW Marriott

Program arranged by the forum GS Comics and Graphic Narratives

Presiding: Nhora Lucia Serrano, Harvard Univ.

  1. “The Radical Genealogy of the Editorial Cartoon,” Frank A. Palmeri, Univ. of Miami
  2. “Between Words and Pictures: Telling the Graphic Story of United States Slavery in Abolitionist Satirical Cartoons,” Martha J. Cutter, Univ. of Connecticut, Storrs
  3. Punch, Counter-Punch: Mimicry, Parody, and Critique in the Colonial Public Sphere,” Tanya Agathocleous, Hunter Coll., City Univ. of New York
  4. “Pulling John Chinaman’s Queue to Get Him in Line: Domesticating Gestures in Nineteenth-CenturyPunch Cartoons,” Joe Sample, Univ. of Houston, Downtown

443. Cash Bar Arranged by the Forum GS Comics and Graphic Narratives

Friday, 8 January, 7:00–8:15 p.m., JW Grand 1, JW Marriott


489. Keep Children’s Literature Weird

Saturday, 9 January, 8:30–9:45 a.m., 306, JW Marriott

Program arranged by the Children’s Literature Association

Presiding: Karen Coats, Illinois State Univ.

  1. “Will the Real Author Please Stand Up? Issues of Ownership and Agency in Chloe and the Lion,” Tharini Viswanath, Illinois State Univ.
  2. “The Weird, the Wild, the Wonderful: A Cross-Cultural Look at Normality in Children’s Literature,” Nina Christensen, Univ. of Aarhus; Philip Nel, Kansas State Univ.
  3. “Wild and Weird: Delineations in Duhême dessine Deleuze: L’oiseau philosophie,” Markus Bohlmann, Seneca Coll.

494. Latina/o Comics

Saturday, 9 January, 10:15–11:30 a.m., Lone Star C, JW Marriott

Program arranged by the forums GS Comics and Graphic Narratives and CLCS 20th- and 21st-Century

Presiding: Christopher Pizzino, Univ. of Georgia

  1. “Super-politics: Relámpago and Chicanismo,” José Alaniz, Univ. of Washington, Seattle
  2. “Prepotencia por impotencia: El Santo versus El Santos and the Struggle for Identity,” Christopher RayAlexander, Johns Hopkins Univ., MD
  3. “The Tragic in the Comic: The Use of Childhood Flashbacks in the Work of Jaime Hernandez,” Melissa Coss Aquino, Bronx Community Coll., City Univ. of New York

521. Dystopia and Race in Contemporary American Literature

Saturday, 9 January, 10:15–11:30 a.m., 4A, ACC

Program arranged by the College English Association

Presiding: Francisco Delgado, Stony Brook Univ., State Univ. of New York

  1. “The Direction from Which the People Will Come: Shifting International Borders in Leslie Marmon Silko and Karen Tei Yamashita,” Francisco Delgado
  2. “Sickness and Cities: Octavia Butler, Speculative Fiction, and the Rise of Neoliberalism,” Myka Tucker-Abramson, Univ. of Warwick
  3. “Redrawing Race Relations: The Use of the Graphic Novel to Rewrite American History,” Scott Zukowski, Stony Brook Univ., State Univ. of New York
  4. “Which Faction Are You? The (Dis)Abled Coding of Race in Divergent,” Jennifer Polish, Graduate Center, City Univ. of New York

543. Gender in Young Adult Dystopias

Saturday, 9 January, 12:00 noon–1:15 p.m., 10A, ACC

Program arranged by the forums GS Speculative Fiction and TC Women’s and Gender Studies

Presiding: Madelyn Detloff, Miami Univ., Oxford; Ian MacDonald, Wittenberg Univ.

  1. “‘Black and Fat’: Deviant Gendered Bodies in Patrick Ness’s More Than This,” Erin Michelle Kingsley, King Univ.
  2. “‘A New History’: Alternate Constructions of Gender and Kinship in Queer Dystopian Literature,” Angel Matos, Univ. of Notre Dame
  3. “Mother of Revolution: The Failure of Self-Sacrifice in Suzanne Collins’s The Hunger Games,” Bethany Jacobs, Univ. of Oregon
  4. “Dystopian Feelings: Disciplining Affect in The Hunger Games and Divergent,” Sarah Sillin, Gettysburg Coll.

574. The Verse Novel for Young Readers

Saturday, 9 January, 1:45–3:00 p.m., 4BC, ACC

Program arranged by the forum GS Children’s and Young Adult Literature

Presiding: Michelle Ann Abate, Ohio State Univ., Columbus

  1. “Drawing In and Pushing Back: The Verse Novel and the Problem of Distance,” Mike Cadden, Missouri Western State Univ.
  2. “Why Aesthetics Matter: Discovering Poetry in the Verse Memoirs of Marilyn Nelson and Jacqueline Woodson,” Richard McDonnell Flynn, Georgia Southern Univ.
  3. “What Can Verse Novels Tell Us about the Aesthetics of Poetry for Young Readers?” Karen Coats, Illinois State Univ.

741. Charlie Hebdo and Its Publics

Sunday, 10 January, 10:15–11:30 a.m., Lone Star C, JW Marriott

Program arranged by the forum GS Comics and Graphic Narratives

Presiding: Martha B. Kuhlman, Bryant Univ.

  1. “‘Jeg er Charlie’: Charlie Hebdo and the Danish Mohammed Cartoons,” Frederik Byrn Kohlert, Univ. of Montreal
  2. “The Other Charlie Hebdo,” Mark Burde, Univ. of Michigan, Ann Arbor
  3. “‘Comment sucer la droite sans trahir la gauche?’: Charlie Hebdo in Its Contexts,” Bart Beaty, Univ. of Calgary

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Children’s Literature and Comics/Graphic Novels at MLA 2015

MLA 2015: Vancouver, BCHeading to the MLA in Vancouver next month? Well, thanks to Lee Talley (for the children’s lit panels), here’s a list of all the children’s literature and comics/graphic novels panels. If we’ve missed any, then please let me know and I’ll add them!


35. The Graphic South

Thursday, 8 January12:00 noon–1:15 p.m., 114, VCC West

Program arranged by the Discussion Group on Southern Literature

Presiding: Katherine Renee Henninger, Louisiana State Univ., Baton Rouge

  1. “The Contested Topography of the Reconstructed South: Visual Poetics in the Works of Jedediah Hotchkiss and Nathaniel Southgate Shaler,” Robert Arbour, Indiana Univ., Bloomington
  2. Stuck Rubber Baby and the Intersections of Civil Rights Historical Memory,” Julie Buckner Armstrong, Univ. of South Florida
  3. “How to Draw an Animal in the Sensible South: William Bartram’s Natural History of Compassion,” Thomas Doran, Univ. of California, Santa Barbara
  4. “Graphic (Un)Being: Swamping the Deleuzian Body without Organs in Contemporary Comics (Swamp ThingSwamp Preacher, and Bayou),” Taylor Hagood, Florida Atlantic Univ.; Daniel Cross Turner, Coastal Carolina Univ.

41. The Comics of Joe Sacco: Journalism in a Visual World

Thursday, 8 January1:45–3:00 p.m., 202, VCC West

A special session

Presiding: Daniel W. Worden, Univ. of New Mexico, Albuquerque

Speakers: Lan Dong, Univ. of Illinois, Springfield; Ann D’Orazio, Univ. of New Mexico, Albuquerque; Jared Gardner, Ohio State Univ., Columbus; Maureen Shay, Univ. of California, Los Angeles

Responding: David M. Ball, Princeton Univ.

Session Description:

The roundtable brings together established and emerging scholars in comics studies to discuss an acclaimed contemporary comics artist, Joe Sacco. The discussion focuses on Sacco’s significance to both literary and comics studies, as well as the challenges that his “comics journalism” poses to the categories and methods of analysis in comics studies.


76. The Endurance of Alice: Lewis Carroll’s Alice’s Adventures in Wonderland at 150

Thursday, 8 January, 3:30–4:45 p.m., 120, VCC West

A special session

Presiding: Jan Christopher Susina, Illinois State Univ.

  1. “‘Off with Their Heads!’: Alice’s Adventures in Wonderland and the Antigallows Movement,” Michelle Ann Abate, Ohio State Univ., Columbus
  2. “The Education of Alice,” Kelly Hager, Simmons Coll.
  3. “‘You’ve Brought Us the Wrong Alice’: Tim Burton’s Dystopic Alice in Wonderland,” Jan Christopher Susina

139. Sites of Memory in Children’s Literature

Thursday, 8 January, 5:15–6:30 p.m., 8, VCC East

Program arranged by the Division on Children’s Literature

Presiding: Karin E. Westman, Kansas State Univ.

  1. “‘I Forgot You Were Away’: The Importance of Children’s Voices and Memories in World War II Evacuation Literature,” Lee A. Talley, Rowan Univ.
  2. “The Kozak as a Site of Memory in Postindependence-Era Ukrainian Children’s Literature,” Anastasia Ulanowicz, Univ. of Florida
  3. “Participating in Future Histories: Young-Adult Dystopian Fiction, Agency, and Temporality,” Jasmine Lee, Univ. of California, Irvine
  4. “Why Does Lia Hate History? Laurie Halse Anderson’s Construction of Trauma,” Adrienne E. Kertzer, Univ. of Calgary

178. Writing the Future: Children’s Literature in East Asia

Thursday, 8 January, 7:00–8:15 p.m., 9, VCC East

Program arranged by the Division on East Asian Languages and Literatures to 1900 and the Division on East Asian Languages and Literatures after 1900

Presiding: Charlotte Eubanks, Penn State Univ., University Park

  1. “Angelic Rebels of Colonial Korea: The Proletarian Child Fights Back,” Dafna Zur, Stanford Univ.
  2. “Satirizing Colonialism and Diaspora in Singapore: Lao She’s Children’s Novella Little Po’s Birthday,” Brian Bernards, Univ. of Southern California
  3. “Beyond Realism: The Social Significance of Children’s Literature in Republican China,” Christopher Tong, Washington Univ. in St. Louis
  4. “Futurism and the Machine Age: Miyazawa Kenji’s Electric Poles in the Moonlit Night,” Maria Elena Tisi, Università di Bologna

For abstracts, write to cde13@psu.edu.


212. Geography, Memory, and Childhood

Friday, 9 January, 8:30–9:45 a.m., 1, VCC East

Program arranged by the Division on Children’s Literature

Presiding: Katharine Slater, Rowan Univ.; Gwen Tarbox, Western Michigan Univ.

  1. “Arresting Images: Childhood, Apocalypse, Miyazaki,” John Grayson Nichols, Christopher Newport Univ.
  2. “Fording the Platte, Shooting a Buffalo, Dying of Cholera: Negotiating Sites of Imagination and Sites of History in The Oregon Trail Video Game,” Jennifer Kraemer, Univ. of Texas, Dallas
  3. “Children’s Mapping as Projective Place,” Laura D’Aveta, Penn State Univ., University Park
  4. “Book, Screen, and Space in the Spaces of the Sylvie Cycle,” Keith Dorwick, Univ. of Louisiana, Lafayette

348. Not an Exit but a Shift: Changing Children’s Literature

Friday, 9 January, 3:30–4:45 p.m., 114, VCC West

Program arranged by the Children’s Literature Association

Presiding: Ramona Anne Caponegro, Eastern Michigan Univ.; Abbie Ventura, Univ. of Tennessee, Chattanooga

  1. “Changing Childhood, Changing Children’s Literature,” Ramona Anne Caponegro; Abbie Ventura
  2. “Not an Exit but a Bang: Posthumanism and Polyphony in the Young-Adult Novel,” Amanda Hollander, Univ. of California, Los Angeles
  3. “Both an Overhaul and an Augmentation: Toward a ‘Child-Centered’ Critical Metaframe for Children’s Literature,” Michelle Superle, Univ. of the Fraser Valley
  4. “Literature for Beginners,” Kenneth Byron Kidd, Univ. of Florida

459. Visual Cultures and Young People’s Texts in Canada

Saturday, 10 January, 10:15–11:30 a.m., 113, VCC West

Program arranged by the Discussion Group on Canadian Literature in English and the Division on Children’s Literature

Presiding: Jennifer Blair, Univ. of Ottawa; Catherine Tosenberger, Univ. of Winnipeg

  1. “Everybody Calls Me Roch: Harvey, The Hockey Sweater, and the Invisible Québécois Child,” Cheryl Cowdy, York Univ., Keele
  2. “Daughters of a Single Parent: ‘Lives of Girls and Women’ in Quebec Cinema Today,” Miléna Santoro, Georgetown Univ.
  3. “Marie-Louise Gay’s Stella and Sam: A Canadian Case Study of Transmedia Storytelling with Picture Book Narratives,” Naomi Hamer, Univ. of Winnipeg

For abstracts, visit commons.mla.org/groups/canadian-literature-in-english/.


565. Writing Home: Memories of Battlefront and Home Front in Children’s Literature of the First World War

Saturday, 10 January, 1:45–3:00 p.m., 224, VCC West

Program arranged by the Division on Children’s Literature

Presiding: Lissa Paul, Brock Univ.

  1. “‘Stop Talking and Go Home’: Endless War in Kate Seredy’s The Singing Tree,” A. Robin Hoffman, Yale Univ.
  2. “Here and Over There: L. M. Montgomery’s War Geographies,” Katharine Slater, Rowan Univ.
  3. “The Orphans of Poetry: War and Childhood in the Poetry of Robert Graves,” Michael Joseph, Rutgers Univ., New Brunswick
  4. “‘I’m Goin’ ‘Ome’: The Linguistics of Loyalty in Robert W. Service’s Rhymes of a Red Cross Man,” Jacquilyn Weeks, Indiana Univ.–Purdue Univ., Indianapolis

For abstracts, visit http://research.ncl.ac.uk/fww-child/.


624. Immigration and Comics

Saturday, 10 January5:15–6:30 p.m., 16, VCC East

Program arranged by the Discussion Group on Comics and Graphic Narratives and the Division on European Literary Relations

Presiding: Sandra L. Bermann, Princeton Univ.; Nhora Lucia Serrano, Harvard Univ.

  1. “‘Home of the Cannibals’: Interracial Contact and Immigration in Chris Ware’s Jimmy Corrigan: The Smartest Kid on Earth,” Timothy Paul Caron, California State Univ., Long Beach
  2. “Aya in the Ivory Coast and Abouet in France: Immigration in Aya de Yopougon,” Michelle Bumatay, Willamette Univ.
  3. “From Immigrants to Privateers: The Curious Case of Hogan’s Alley and the Yellow Kid,” David M. Ball, Princeton Univ.
  4. “Comedy of Errors: Lessons of Identity and Agency in American Born Chinese,” Judy Schaaf, Univ. of Massachusetts, Dartmouth

For abstracts, visit graphicnarratives.org/ after 1 Dec.


643. A Creative Conversation with the Canadian Poet JonArno Lawson

Saturday, 10 January, 7:00–8:15 p.m., 118, VCC West

Presiding: Craig Svonkin, Metropolitan State Univ.; Joseph Terry Thomas, San Diego State Univ.

Speaker:JonArno Lawson, Toronto, ON

Session Description:

A creative conversation about avant-garde children’s poetry, Canadian poetry, and Canadian children’s poetry with the award-winning poet JonArno Lawson. Lawson is a three-time winner of the Lion and the Unicorn Award for Excellence in North American Poetry.


644. Cash Bar Arranged by the Discussion Group on Comics and Graphic Narratives


654. Virtual Women: Webcomics

Sunday, 11 January8:30–9:45 a.m., 3, VCC East

A special session

Presiding: Leah Misemer, Univ. of Wisconsin, Madison

  1. “‘Straw Feminists’: Webcomics, Parody, and Intertextuality,” Sarah Sillin, Univ. of Maryland, College Park
  2. Ménage à 3: Gender and Sexual Diversity through Women’s Perspectives,” Nicole Slipp, Queen’s Univ.
  3. “One Click Wonder: How Female Comics Creators Leapt from Private to Public in a Single Bound,” Aimee Valentine, Western Michigan Univ.

Responding: Hillary L. Chute, Univ. of Chicago


712. Why Dystopian Young-Adult Literature? Why Now?

Sunday, 11 January, 10:15–11:30 a.m., 114, VCC West

Program arranged by the Children’s Literature Association

Presiding: June S. Cummins, San Diego State Univ.

  1. “Reclaiming Adolescent Power in Young-Adult Dystopia,” Jessica Seymour, Southern Cross Univ.
  2. “The Dystopian Present: Recolonizing America in Paolo Bacigalupi’s Shipbreaker and The Drowned Cities,” John David Schwetman, Univ. of Minnesota, Duluth
  3. “Power Play: The Seduction of Games in Young-Adult Dystopian Fiction,” Jonathan Hollister, Florida State Univ.; Don Latham, Florida State Univ.
  4. “The Emancipatory Power of Hopelessness: Discourses of Political Failure in Recent Young-Adult Literature,” Oona Eisenstadt, Pomona Coll.

720. Comics Theory Roundtable

Sunday, 11 January12:00 noon–1:15 p.m., 214, VCC West

Program arranged by the Discussion Group on Comics and Graphic Narratives

Presiding: Martha B. Kuhlman, Bryant Univ.

Speakers: Michael A. Chaney, Dartmouth Coll.; Hugo Frey, Univ. of Chichester; Jared Gardner, Ohio State Univ., Columbus; Fabrice Leroy, Univ. of Louisiana, Lafayette; Barbara Postema, Ryerson Univ.

Session Description:

This roundtable analyzes interdisciplinary approaches to studying comics. Comics theory includes semiotics, film theory, linguistics, visual studies, and narrative theory, among other disciplines. The scholars examine to what extent these discourses are in conversation with one another and seek connections among them.

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Superman Was a Refugee, Too

… Give me your tired, your poor,

Your huddled masses yearning to breathe free,

The wretched refuse of your teeming shore.

Send these, the homeless, tempest-tost to me,

I lift my lamp beside the golden door!

— Emma Lazarus, “The New Colossus” (the poem on the Statue of Liberty)

As alleged patriots devise ways to deny the humanity of young Central American refugees seeking asylum in the United States, it’s worth remembering not only Emma Lazarus‘ famous poem, but this PSA from Superman — that all-American refugee from the planet Krypton.

Superman says... "Lend a friendly hand!"

We should judge a country according to how it treats the most vulnerable of its residents — be they citizens or refugees. Though some Americans have reached out to these latest immigrants, others have shouted racist slurs, demanded their deportation, or threatened to kill them.

The United States prides itself on being “a nation of immigrants,” a claim that is (at best) dubious, given that (a) Native Americans have lived here before Europeans arrived and (b) many African “immigrants” were in fact kidnapped and enslaved. However, the noble idea of embracing people from different cultural and national backgrounds is supposed to be part of what defines America. It’s supposed to be a core American value. I’m posting this comic page as a reminder of that (sometimes) shared ethos.


Hat tip to Jonathan Beecher Field for the Superman PSA. The slightly lower-res version he shared (on Facebook) includes, at the bottom: “Published as a public service in cooperation with the National Social Welfare Assembly, coordinating organization for National Health, Welfare, and Recreation Agencies of the U.S.” My source for the above image is Dial B for Blog.

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Comic-Con 2014: San Diego, July 27

And now, my final daily report from the 2014 Comic-Con!  (Earlier reports: Sat.Fri.Thurs., & Weds.)  Today, Trina Robbins, Paul Pope, Dav Pilkey, Rachel Renée Russell, and some Outlander photos (by special request)!


Chatting with Trina Robbins

Trina Robbins and Philip Nel, at the Fantagraphics table, on Sunday morning

Trina Robbins, Pretty in InkFor this morning’s signing, I was with Trina Robbins, who — I am pleased to report — sold all copies of her latest book, Pretty in Ink.  (I bought a copy myself, on Thursday.)  Had a good chat with her about the memoir she’s writing: Sex, Drugs, Rock ‘n’ Roll, and Comics. We mostly talked about the rock ‘n’ roll part.  In the ’60s in San Francisco, she and her (now ex-) husband knew lots of musicians: Donovan, Mama Cass, David Crosby, & others.  I don’t want to spoil the book by divulging details here, but she’s led an interesting life.  (I knew about some of the comics part, but none of the rock ‘n’ roll part.)  So, look for that book in… I’m guessing… a couple of years or so?


Middle-Grade Readers

Moderator David Mariotte, Rachel Renee Russell, E. J. Altbacker, Brandon Mull, Paul Pope,P. Craig Russell, Pseudonymous Bosch, and Dav Pilkey.

Left to right: Moderator David Mariotte, Rachel Renee Russell (The Dork Diaries), E. J. Altbacker (Shark Wars), Brandon Mull (Sky Raiders), Paul Pope (Battling BoyThe Rise of Aurora West), P. Craig Russell (The Graveyard Book graphic novel), Pseudonymous Bosch (The Secret Series, Bad Magic), and Dav Pilkey (Captain Underpants).

I arrived at this session late because, well, it’s impossible to conclude your signing in the exhibit hall at 11 and then suddenly materialize in a panel session also at 11. I walk briskly, but I cannot levitate over the crowds of people. (Maybe if I’d dressed as a costumed superhero,…?)

The moderator asked about using other media in conjunction with the print books. Rachel Renee Russell noted that her main character has a blog. E. J. Altbacker’s series has an app where player would need to know first few books in order to play it successfully.  P. Craig Russell (who adapted The Graveyard Book as a graphic novel) said that “a graphic novel also brings in more readers, and is sometimes as long as the novel itself.”  The two-volume Graveyard Book is one such work. Pseudonymous Bosch said that he wrote his first novel via the postal service — though I didn’t quite understand what he meant. I assume he mailed the manuscript in that way? Or maybe I misheard? (I’ve not read his Secret Series). But, he said “kids now expect a much more interactive experience with their reading material.” When he was a kid, “it would not have occurred to him to write to the author.”

Dav Pilkey, The Adventures of Captain UnderpantsThe moderator ended his questions early, and moved to audience questions.

First questioner (to Dav Pilkey): Captain Underpants Cosplay: wonderful or kinda scary?

Dav Pilkey: Definitely scary.  There’s a motion picture that’s going to be made of Captain Underpants.  I was afriad it would be live action, but it’s going to be animated by DreamWorks Animation.

Most of the rest of the questions were from young readers.

Comic-Con 2014: Middle-grade readers at Middle-Grade Readers panel

Young reader (to Dav Pilkey): Did you have a mean principal?  Did it inspire you?

Dav Pilkey: Mr. Krupps was inspired by a mean principal.  I had a mean principal. He was verbally abusive, and physically abusive. I told my mom about him — though not the physically abusive part.  She used to say “everything happens for a reason.  Maybe something good will come out of it.”  She had no idea….

Paul Pope, Battling BoyAnother young reader: Is it hard to write books for young readers?

Paul Pope: You have to maintain a connection to your innocence. You have to write for yourself as a 12-year-old.

Pseudonymous Bosch: It helps if you stopped maturing at age 12.

Rachel Renée Russell: I’m always worried whether people will like it.

Paul Pope: When I was writing violent scenes, I thought “I’m going to write this for the 12-year-old editor in my head.” No blood, no gore. But I worked it out in my head. There were no rules.

Young reader #3 (to Paul Pope): how did you get the idea for Battling Boy?

Paul: Most of my books were for adults. But my nephews wanted to see my work. I realized that most of the comics I was reading — those comics weren’t written with young people in mind.  I just felt like there weren’t good books for kids of your age group, so they don’t keep having going back to Batman, who is 75 years old, or Spiderman.

Rachel Renée Russell, Dork Diaries 5: Tales from a Not-so-Smart Miss Know-itYoung reader #4 (to Rachel Renee Russell): What inspired you to write the Dork Diaries?

Rachel Renee Russell: My two daughters were so dorky. I felt sorry for them. Kids picked on them. They were bullied. They didn’t get invited to birthday parties. They had a really hard time. But they grew up to be really smart, intelligent young ladies. So, dorks rule!

As the conversation turns to bullying, Brandon Mull says that the bullied are often “good nice people. Good nice people in middle school have a hard time.”

Paul Pope says, “I don’t want to give advice to young people. But you do not want to look back on your teenage years as your best years. You want to look back on those as your worst years.”

Young reader #5: Is Pseudonymous Bosch your real name?

Pseudonymous Bosch: Pseudonymous is an old family name. Bosch, however, I named after my toaster.

Young reader #6: What do you do for fun?

Rachel Renee Russell: I read other middle-grade readers.

Brandon Mull: Narnia turned me into a reader…. Harry Potter taught me that you could write a young protagonist and make it fun for young and old readers.

Paul Pope: I like to read artists’ journals. There’s a very different way you processed your life, then. You weren’t expected to interact via social media…. I like to talk to people.

Adult question #2: When you see fan art or kid art of your characters, I wonder if you could have a conversation about that….

Paul Pope: It’s cool…. There is kind of a rite of passage where you see people dressed as your characters because it means they really love the characters. It’s very humbling…. It’s fun to branch out and maybe not make any money, but reach an audience who has been under-served by comics.

Young reader #7 (to Brandon Mull): When you’re writing books with magic, do you have to worry about maybe magic solving it all?

Brandon Mull: [Laughs] That’s such a good question! You should become a writer! … If the magic can solve everything, then nothing matters…. So, we try to put limits on what the magic can do. Think about the consequences. Sort of like, 100 years ago, a good science fiction writer might think that we’ll have cars.  But a great science fiction writer might think that we’ll have traffic jams.

And… that’s the only panel I attended on Sunday.  Had to catch flights home!


Outlander: Photos

Outlander at Comic-Con

Starz is making a TV show of Diana Gabaldon’s Outlander series.

To promote the new television program, its sponsors had a great big castle with video clips mounted on the sides. One could walk through the edifice, too. (I didn’t.) However, I was asked to post photos; so, I am.

Outlander at Comic-Con

There was even an entire panel devoted to (promoting) the new series. It’s already on YouTube.

Here is another photo showing a front view of the ersatz castle-thingy.

Outlander at Comic-Con

There were also people (employed by the promoters of Outlander) parading through the streets, hollering. Karin took this photo:

Outlander in the streets beyond Comic-Con


Comics!

March: Book One, The Great Northern Brotherhood of Canadian Cartoonists, Moomin and the Golden Tail, Moomin's Desert Island, The Timid Cabbage, Pretty in Ink, Lumberjanes, Rainy Day Recess, Tuki, Smoke Signal


Three final thoughts…

  1. Of the conferences I attend, Comic-Con is the one where I am the most anonymous. The down side, of course, is that my “signings” are, er, rather sparsely attended. The up side (or sides?) is that it’s great to wander about anonymously.  You can easily disappear into the crowd (and the crowds here are huge!). I like being able to disappear.
  2. Should I attend a future Comic-Con, I’d like to chair or participate in a panel, probably on one of the “Comic Arts Conference” sessions (this is the academic wing of Comic-Con), though would be glad to appear in other ways. (This is my second Comic-Con, and both times I was attending as an Eisner nominee.)
  3. I remain open to the idea of cosplay. If I’d had the time, I would have gotten together a Mr. O’Malley costume for this year. Two reasons. First, I think it would be a fun way to promote the Barnaby books. Second, I think it would be hilarious to dress up as a character (O’Malley) whom virtually no one at Comic-Con would recognize. When I spoke of donning the costume of Barnaby’s Fairy Godfather, Eric Reynolds joked, “People would think you were dressed as Seth!” To which I replied: “Yeah, and they’d be asking: Why does Seth now have wings?” (For those unfamiliar with Barnaby or the artist, both wear a 1940s hat and overcoat. O’Malley even wears spats.)
Crockett Johnson's Mr. O'Malley Seth

 


Comic-Con 2014:

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Comic-Con 2014: San Diego, July 26

Hello, and welcome to today’s tiny sliver of what Comic-Con is like. In each of my day’s reports, I’m giving you but one person’s glimpse into this vast enterprise, the attendance of which tends to be around 50,000 people. If you were here, your focus might be different than mine. Or if you did attend this year’s Comic-Con, I’m sure I saw things that you didn’t — and vice-versa.

I missed the earliest panels I’d planned to attend today because I was still writing up yesterday’s experience. Fortunately, today’s will be more brief….


Berkeley Breathed: The Last Comic-Con Panel!

Berkeley Breathed

To a packed room, Breathed offered a satirical presentation, addressing his correspondence with Bill Watterson, marketing, and his (possibly imagined) film projects. Breathed’s deadpan delivery kept the line between satire and truth deliberately vague, but subtle tonal shifts usually let you know when he was kidding. Usually. It was great, quick, and impossible to summarize.

The Breathed / Watterson Feud

Breathed began by saying (tongue in cheek), “My heart is heavy for my close personal friend Bill Watterson.” And so, he added, “I thought I’d take the opportunity to shoot down the rumors.” He then proceeded to invent the rumors he was going to shoot down, as well as spread some mock-scurrilous rumors about Mr. Watterson himself.

Dear Mr. Watterson

Of the documentary, Looking for Mr. Watterson, Breathed said “They never found him.  They had celebrities, Cathy Guisewite,…” and then he put up this slide which (in case it’s too blurry) is Mother Theresa wearing a Calvin & Hobbes t-shirt.

Mother Theresa (wearing Calvin & Hobbes t-shirt)

Dear Mr. Breathed,...But of course they never found Mr. Watterson himself. Berke Breathed himself was interviewed, and “was stupid enough to mention a few critical letters” that Watterson had written to him. This, Breathed suspects, may be a source of the friction between himself and Watterson. But, he assures us, “I take my business just as seriously as bill does.” And so, he said, he’d like to announce his new Kickstarter project, Dear Mr. Breathed You’re So Fucking Easy to Find! In that film, Breathed promised “to set the record straight,” and added, “I can compete with Bill’s film on every level.”

Bill the Cat, Opus, & Gainsborough's Blue Boy

Breathed showed us glimpses of his film projects, though it wasn’t entirely clear which of these were actual film projects and which were invented for the purpose of Breathed’s talk.  The films included

  • Flawed Dogs.
  • Something About C-Mo, in which a dog learns to read and spell — with Cheetos.

The big difference between Breathed and Watterson (says Breathed) is that Breathed agreed to do some merchandising, but Watterson refused.  Letters sent from Watterson to Breathed included satirical cartoons at the bottom, playfully mocking Breathed.  But, Breathed explains, “I was forced into merchandise with a gun to my head. I gave it all to… — no, I didn’t give it all to charity.”

Because he’s sure Bill Watterson wouldn’t mind, he wanted to share with us “a few selections from his new life.” Breathed stressed, “this isn’t payback.  I just have a few photos, and I don’t think he’d mind me sharing.” One photo is Watterson standing between sexy young women — though it’s clear that Watterson’s face has just been digitally added (it’s from that same black-and-white photo from Watterson’s days as an editorial cartoonist).

Breathed concludes by saying that he will be signing at the IDW booth.

Questions from audience…

Will there be reprints of Academia Waltz?

Berkeley Breathed, The Academia WaltzBreathed replies, “Yes, actually. The contract is on my desk right now.” He doesn’t really think they should be, but IDW really wants to do it.

Another audience member calls out “They [Academia Waltz strips] got me through law school at UT!”

Breathed asks, “Do you think they should be reprinted and sold?”

The same audience member responds, “Well, maybe I’m remembering them better than they were.”

Will there ever be an Opus movie?

The Opus movie, Breathed says, has been held up by Weinstein brothers. “The last note I got from Bob Weinstein said ‘Does the penguin have to talk?’” There was a collective groan from the audience.  So, Breathed said, “Will there ever be a movie? It’s a huge roll of the dice. And I’d need to have more control than I have now.”

Is there anybody right now who you’re reading?

Breathed responded, “I’m not reading the comic pages anymore.” He said, “I got into comics in a backdoor way. I didn’t come at like Bill did.” And in the Q+A Breathed spoke seriously of his admiration for Watterson, who was so dedicated to the craft of making cartoons. Unlike Watterson, “I wanted to make films,” Breathed said. Again underscoring the purity of Watterson’s dedication to his art, Breathed claimed, “Charles Schulz was the richest entertainer — bigger than Spielberg, bigger than George Lucas. Bill Watterson walked away from that kind of money. He’s a hero.  He’s doing it right.”

Questions about other publications, other forthcoming work…

Berkeley Breathed, Bloom County Volume 5Breathed says, “Everything I’ve ever drawn will be published by IDW.”  The Bloom County books did not include all of the Bloom County strips. IDW’s complete collection will include everything, which, Breathed says, is a good thing because those old strips have started to disintegrate. That’s due in part to the way he stored them — under his python’s cage. One thing pythons do a lot, he says, is pee. So, turning to the IDW representative there, he said, “that’s what those stains are. I did tell you that, right?”

He says he would not do Bloom County in the current media landscape. At the time he did it, “Bloom County was fun because I had no competition. You had Johnny Carson, you had Saturday Night Live.  And yes, you had Doonesbury, which was great. But his tone was so lofty, that it [comics] was just waiting for a smart-ass like me.”

So, we won’t see more comics from Breathed, but “I still love movies. Those are my passion. And so that’s where you’ll see me.”

Calvin says, "Come back"

Breathed concludes by saying, “I’d love some more drawings from Bill, with his drawings on the bottom, cutting me to death.”


CBLDF: Banned Comics!

Charles Brownstein, Carol Tilley,  Jeff Smith, Gene Luen Yang

Moderator Charles Brownstein led a discussion on banned books, featuring panelists Carol Tilley, Jeff Smith, and Gene Luen Yang. And, while I don’t know that there was “new” information (to people who follow these discussion), hearing the panelists on this subject was worthwhile, and these sorts of panels are vital for helping to create awareness. Indeed, if such panels aren’t held at every Comic-Con, they should be.

My sense is that the rising number of challenges to Bone may have motivated the timing of this session. As Jeff Smith said of this past year’s Banned Book list, “Fifty Shades of Gray was number 5, and I was number 10.” Smith explained, “Bone has been challenged for a number of years now, but this was just the first time it made the top 10.”

Jeff Smith, Bone Vol. 2 (Scholastic)Why? Smith said, “Bone has been challenged for sexual situations, political viewpoint, racism and violence.” Carol Tilley added, “And smoking.” To which Smith responded, “And smoking. And drinking and gambling. And racism.” Gene Luen Yang asked, “Racism? How do they get racism?” Smith responded, “I don’t know. I don’t get to talk to these people. These comics are almost like Rorschach Tests that say more about the people making the challenge than about reading the books.  I think they see their kid reading the books, and they don’t see what came before or what came after.”

Brownstein noted that “The challenges that occur in comics are along the same lines of those that occur in [non-comic] books.” So, he asked, “Why, when we have freedom of speech?” (Since I live in Kansas, where university employees do not have freedom of speech, I thought, “How nice that Mr. Brownstein lives in a place where there’s freedom of speech. I guess he must not work for a corporation that prohibits freedom of speech either.”) Tilley answered Bronstein’s question: “One of the most frequent reasons for a challenge is this vague reason called ‘inappropriate for age.’” She then paraphrased Dorothy Broderick: “It’s not just conservatives who want to censor materials. The only difference between liberals and conservatives and censorship is what they want to keep their children away from.” This is something I often tell my students when I teach about censorship — as one must do when teaching children’s literature, young adult literature, graphic novels….

Yang weighed in: “I am a parent. I have four kids. I’m really stunned that Bone is on the top 10 list. Because I’m fairly prudish. And I can’t imagine parents who are more prudish than me.” He then explained why freedom of speech is important. “First, there’s an individualism that’s at the root of America, but … reading should happen within the community, within the family.  So there should be material in there that makes people want to have a discussion.  Second, America is a collection of subcultures. And what makes that exist is freedom. So, you have to have a basic respect for freedom. So, those are the things that guide my work as a teacher, as a parent, as a creator.”

Addressing the question of audience, Smith explained, “Bone was not originally intended as a children’s book.” He just wrote it for other comics fans, really. At that time, “there were no kids reading comic books back then, pretty much.” So, “I was writing Bone as a pastiche of funny animal books and Lord of the Rings books.” For this reason, he said, “I certainly didn’t censor myself because I was writing for 30-year-olds.” The audience of Bone transformed it into a book for young people: “Readers turned Bone into a children’s book.  It was not me.” In any case, he says, he still finds it surprising that it would be a target of censors: “We used to joke that Bone could be banned some day because it’s the most squeaky-clean comic.”

Gene Luen Yang, American Born ChineseSpeaking about challenges to his work, Yang began “On the internet, I think people are just mean. When American Born Chinese came out, MySpace — remember MySpace? — chose it as the book of the month. And there was this long discussion of how American Born Chinese was racist and a manifestation of my self-hatred.”  However, these readers missed the point. “The whole point of Cousin Chin-kee was so that I could cut his head off at the end.” Yang also admitted that he abridges his own work when he reads it to his children (he has four): “When I read American Born Chinese to my kids, I only read the Monkey King parts. But my eldest, my son, snuck off and read the whole thing. But that’s OK. Because he can talk about it with me, his dad. You have to be realistic. You can’t police everything that they watch. They’re going to encounter things that are out of their comfort zone.” I found it interesting that he limits his own children’s reading (including self-editing his own work), but also seems OK when they push back against these limits and read things he’s asked them not to. Broadly speaking, it’s a metaphor for parents’ efforts to protect their children from the various danger they will surely face — well-intentioned, even necessary, but also impossible to sustain.

Charles Brownstein: I wasn’t allowed to read comic books when I was growing up, which of course is why I work in them.

Gene Luen Yang: Me too. I wasn’t either!

Underscoring the humility with which he applies rules in his own household, Yang said, “The thing with parenting is from the moment they’re born until the moment they leave your house, there’s just a constant breakdown of authority in your house.  That’s just the way it works.  That’s what they sign up for.”

Back on the subject of freedom of speech, Tilley said, “Even though it may sound a little silly, a 3-year-old and a 93-year-old have the same intellectual rights.” And that’s an excellent point, as is Dorothy Broderick’s point (quoted by Tilley) that “Libraries have something to offend everyone.” Amplifying that idea, Tilley added, “Libraries should have something to offend everyone”


Comic-Con Personified!

Chatting with Scott McCloud & Ivy Ratafia (Scott’s wife) after the “Banned Comics” panel, Ivy noticed a young woman who had made herself an entire dress out of the giant Comic-Con bags you get when you register. (Last year’s — and perhaps other years’ — also had a cape that unfurled down the back. You can see her using some of that fabric, too.) Very creative!

The front:

Comic-Con personified! (front)

 

The back:

Comic-Con personified! (back)


Spotlight on Willie Ito

In case Willie Ito’s name is unfamiliar to you, the conference program offers a useful professional biography:

With nearly 60 years as an animation artist, Comic-Con special guest Willie Ito has done it all. He worked at Disney on Lady and the Tramp‘s spaghetti scene with mentor Iwao Takamoto and on One Froggy Evening and What’s Opera Doc at Warner Bros’ famed Termite Terrace under Chuck Jones’ direction. He went on to The Beany and Cecil Show with Bob Clampett and then Hanna Barbera for the beginnings of The Flintstones, The Jetsons, and many other cartoons. Ito has great stories and experiences to share. After HB he went to Disney Consumer Products and spearheaded implementation of collectibles and licensed products worldwide. He has also designed comic books, comic strips, coloring books, and more. Join animation expert Leslie Combemale of ArtInsights for a spotlight on Willie’s life, including the part of his childhood spent in a Japanese internment camp that inspired his most recent venture, a series of children’s picture books based on the experience.

Leslie Combemale and Willie Ito, a bit choked up over receiving his Inkpot Award

At the very beginning of the panel, a representative from Comic-Con presented Willie Ito with an Inkpot Award, and he was touched by the recognition.

Being at this panel was like listening to a memoir in progress. As I sat there, I kept thinking: Is someone recording this? Willie Ito needs to write his autobiography. And if he doesn’t write it, then someone else should!

Beyond the fact that he worked at pretty much every major animation studio, Ito — who is an American of Japanese descent — also lived in California during World War II.  I did not manage to transcribe everything he said, but it’s a heck of a story.

Disney's Snow White and the Seven Dwarfs (1937 poster)Leslie Combemale began the conversation: “When you were really little, you wanted to work for Disney.” Willie Ito answered, “I grew up in San Francisco in an enclave called Japantown. … On the outskirs of Japantown was a neighborhood theatre.  This was 1939.  We made a habit of going to the movies once, maybe twice, a week.  This was before television.  I used to listen to the radio a lot — Buck Rogers, Lone Ranger, and all those classic shows.”

Ito then recalled seeing the Seven Dwarfs, singing, in color (in Disney’s Snow White and the Seven Dwarfs): “And I said that’s what I want to be!  Not one of the Seven Dwarves, but an animator.”

He also enjoyed comics: “I was a big fan of the Walt Disney Comics & Stories, Looney Tunes [comic books].  I was basically into funny animals.  And along with the comic books, I would get coloring books.  They used to have for a time these books called the Big Little Books, and they were reprints from the newspaper.” He said, “Every Sunday, I would go downstairs, and there was this big, thick, San Francisco Examiner.  I would go straight to the comics.”

Combemale asked, “What was the first thing you remember drawing?” Ito replied, “I remember there was a coloring book, and I remember tracing it, and I thought, ‘Well, that’s even better than Walt Disney!’ Of course, back then, I thought Walt Disney drew it all.”

Ito recalled one morning, going off to the beach, accompanied by his uncle and the woman would become his aunt. They were very focused on each other, and quite happy to let him play on the beach on his own. Later that afternoon, the fog rolled in, and they decided to call it a day. As they approached the city limits, they saw that a checkpoint had been set up. They didn’t know why. Officers were asking for proof that people entering the city of San Francisco actually lived in San Francisco. Finally, Ito recalled, “we got into the city, and then we saw the headlines: WAR! I never knew what war meant.  So, I asked my Uncle ‘What does “war” mean?’ Pearl Harbor had been attacked.”

Executive Order 9066At that point, “rumors immediately started swirling around about what our fate would be.  Finally, President Franklin Delano Roosevelt signed Order 9066.  We were going to be evacuated into internment camps, in 6 months. You couldn’t take everything with you — only what you need.”

Combemale, alluding to Nazi Germany said, “That sounds like somewhere else, at the same time.”

Ito replied, “Mmm-hmm.  My first thought was ‘I can’t take my comic book collection!’” He realized, too, that he would have to leave behind his Dopey bank — that is, a piggy-bank featuring the likeness of Dopey from Snow White and the Seven Dwarfs.

Another memory from that time: “I remember coming home one day and there were FBI agents there, looking for anything that might be considered contraband.  They were tall, 6-footers.” Ito explains, “One of the crazy things they did was confiscate the lawn-mowers because the Japanese gardeners are going to mow arrows” that would point Japanese pilots towards key targets. He chuckled as he said this — indeed, describing the bigotry he faced, he often chuckled. I was struck by his ability to speak of these events without any apparent malice. I expect that, had this happened to me, I would have been bitter. Perhaps he was bitter at one point, and learned to let go of bitterness?

Describing the internment camps themselves, Ito said, “They put us up in stables.  They didn’t really have time to build barracks.  For the first, early arrivals, we were literally in horse stables.  So, the internees would come, and this was where they stayed.” When they arrived, the internees asked, “Where are the mattresses?”  The guards said, “You see those white bags?” Ito explained that there were “stacks of white bags.” So, the guards said, “Fill them up with hay.” (They were, literally living in stables.)  So, Ito says, “if you had allergies….”

Combemale asked, “How long were you there?” Ito said that they were in the stables for six months before they moved into the barracks. He added, again with wryness (rather than bitterness), “We were considered a security risk to the government, because we could signal to the Japanese ships or something.”

The story was riveting, and would, as I say, make for a great memoir or film. On the experience of being in the camps themselves, Ito said, “The rumor in our communities was ‘What’s going to happen if Japan wins the war or the U.S. wins the war?  We’re just going to be lined up and executed.’” Again, he was able to speak of this calmly, without bitterness towards his captors.

Combemale asked, “Did it keep you sane to be doing drawings while you were there?” Ito didn’t have paper, but they did have Sears catalogues from which they would order what they needed. So, Ito told us, “I would take the expired catalogues, and draw on the margins.” Ever the aspiring animator, Ito made flipbooks in the margins of the Sears catalogue.

To conclude the internment narrative, Ito reports that when he got back to his house after the war, his Dopey bank was still there!

What was really wonderful about this conversation is that Combemale had the judgment to simply let Ito talk, recount his experience. She’s an excellent listener — an ideal quality for an interviewer to have.

What's Opera, Doc?Combemale: You were also in Chuck Jones’s unit on What’s Opera, Doc? You said he was an interesting person to work with.

Willie Ito: I admired him from afar. One time, we were watching a pencil test, and, at the end, I sort of blurted out, “Charles M. Jones, Super-Genius.” And Chuck sort of looked at me like “… hmmmm….”

Ito recalls another moment when he was watching a cartoon with Jones: “I would be watching a Friz Freling cartoon, laughing with tears rolling down my face.  And Chuck Jones would be looking at me, glaring.”

Ito was hired by Walt Disney Productions for the “Lady” unit (i.e., the unit working on Lady and the Tramp).  He “reported to Milt Kahl — one of the 9 Old Men! And Iwao Takamoto was there!” And I didn’t manage to capture the full history of Ito’s working career — at a certain point, I was just listening and not taking notes. (Sorry!)

Ito worked a year at Bob Clampett. He said, “I want you to design all my characters– and they were all puppets.” This was a great opportunity for Ito because “I got to work in design, layout, etc.  So, after that, going to Hanna Barbera, I felt like a veteran. I could do it all!”

A Boy of Heart MountainIto would go on to spend 14 years at Hanna Barbera. At the time he went, he told Chuck Jones that he was going to take that job. Jones advised him against it because it was television, and those studios wouldn’t last. He said that staying at Warner Brothers would provide steady work because they would always be making these cartoon shorts. Yet, Ito recalled, “while I was there [at Hanna Barbera], Warner Bros. closed down!”

The panel did not get to cover as much of Ito’s career, but the focus on his earlier life was riveting. If you’re interested in learning more about it, Ito has a book called A Boy of Heart Mountain, which “educates children about sending an entire group of people to camps, for a while.”


Spotlight on Jeff Smith

Tom Spurgeon & Jeff Smith

As the program says, “Comic-Con special guest Jeff Smith discusses his foray into the world of online comics with his new title TUKI: Save the Humans, as well as the 10th anniversary of Scholastic’s color version of Bone. Moderated by Tom Spurgeon (The Comics Reporter).”

Jeff Smith, Bone Vol. 1 (Scholastic)Tom Spurgeon did a great job of moderating this discussion with Jeff Smith, which began with the announcement of a new edition of Bone Vol. 1, commemorating the tenth anniversary of Scholastic Graphix. It’s a new special edition with, as Smith says, “eight new pages, including the rat creatures’ ode to quiche.  And other drawings from scholastic artists.  It comes out in Spring of 2015.  That’s just the first step of the rollout of things we’re doing next year.”

Tom Spurgeon: Doing the whole series over again?

Jeff Smith: No, just the first volume.

Tom Spurgeon: Do you think in terms of legacy formats at this point?

Jeff Smith: Yes. IDW now wants to do a legacy edition of all nine books. I’m like really? At 100 bucks a pop? Oh, all right. [Laughs.] No, I’m not going to do that.  At first, I thought they wanted me to add a new section to it.  And I thought maybe I could add a scene during winter?  I realized that I couldn’t get my mind back into that space.  And the book was done.  I shouldn’t do any more to it.

(A note on my reporting. I’m capturing the contours of the conversation, but not every last word. So, what you see is as close to a direct quotation as I was able to transcribe, but it’s not the same as, say, reading the transcription of a recorded event.)

Jeff Smith, RASLI liked Smith’s practical approach to what he’s known for. Rather than (as some artists might) chafe under being known primarily for Bone, he said, “Bone is going to be — I’m never going to get out from under that shadow. So, I think I need to enjoy that.  Whereever I go, I’m the Bone guy.  I’m Jeff ‘Bone’ Smith.” And you could see that he does enjoy it. After the panel, for example, he kindly consented to a photo with a fan and her Fone Bone plush doll.  The Cartoon Books booth had plush dolls of all three Bones — as well as his copies of Bone, and newer works, such as RASL, and the first issue of TUKI.

Acknowledging the difference between these three projects, Smith said, “I wanted to get TUKI going while RASL was underway, so that people could see that all three had the same strand of DNA running through them.”  Smith spoke of enjoying drawing TUKI after RASL.

Jeff Smith: I don’t have draw buildings and cars, as in RASL. I can draw streams and mountains, which is much more natural to me.  With Bone, I had an Encylopedia Britannica, a leather-bound set. I did all of Bone with Encyclopedia Britannica.  When I was doing Shazam, I would go to the public library and get books out on New York City. That was the last time I went to the library.

Tom Spurgeon: There’s a moral there, but it’s an uncomfortable one.

He’s also enjoying TUKI because, as he says, “I did want to do humor again.  There was not much humor in my noir [RASL].”

Jeff Smith, page from TUKI

Indulging us comics nerds in the audience, Spurgeon and Smith had a conversation about how Smith designs a page.  How does he know to put those three inset boxes, of varying sizes, at those specific places on the page?  How does he do his layouts?  Smith responded, “I experimented with it, did several versions.”  Presumably, people read the top left panel first (because we read from left to right), but, Smith explained, “I put the flower and the bird up there to keep your eye up there.” The idea is that Tuki is hunting, and he sees the one animal that has strayed from the herd (in the middle panel).

Looking at Tuki, Spurgeon said, “You’re one of our great character designers,” and noted Smith’s many distinct characters — Fone Bone, Thorn, the rat creatures, Gran’ma Ben, Rasl, and now Tuki — who, in Smith’s new graphic novel, is the first human. “What is it you look for in a character?”  Describing Tuki, Smith said, “I worked with him for a while. He’s African, so he’s going to be black. He’s also not human. He’s Homo Erectus,” which (as I understand it) is the phase in evolution just before Homo Sapiens.

Tom Spurgeon: Are you drawing sketches?

Jeff Smith: There are a few pages in my files: What does Tuki look like? They didn’t have clothes, then. So, what do you do? They didn’t wear loincloths. I realized that our ancestors did carry things with them…. So, that allowed me to create something to cover up his junk. [Laughs]

Tom Spurgeon: How precious are you with your tools?

Jeff Smith: [Joking] Excuse me?

Tom Spurgeon: ToolS.

Jeff Smith, Tuki (comic #1)Smith also talked about his research for the character, noting, “Some people think Homo Erectus couldn’t talk, but until Homo Erectus there was no voice box. So… it’s debatable.”  On his artistic style for this work, he noted that “RASL had some kind of Jack Kirby faces,” whereas TUKI “is going to be more Sergio Aragones.”

Tom Spurgeon: How is it to be an influential cartoonist?

Jeff Smith: Well, it’s very flattering. I like it.

Tom Spurgeon: As I recall, you didn’t expect it.

Jeff Smith: No, no one expects it…  I guess, in a way, I feel like it’s kind of a stage you reach.

Smith also talked about, in Bone‘s early issues, hiding the fact that Bone was a fantasy, because he figured that if he was clear that it was, then that would be the end. No one would read it. So, instead, he spent the first third of the book inviting readers to get to know the characters, and like the characters, so that when he revealed that it was fantasy, they’d stick with it. But he eventually had to admit that it was fantasy: “There was a certain point where I couldn’t hide it any more. I had to come out. I had to come out of the closet!” [Laughs]


The Highlight of My Day — and my Comic-Con

After the panel, I introduced myself to Jeff Smith, and we walked down to his booth. I explained that I was the guy who co-wrote that article on Bone and Moby-Dick (for which he kindly supplied images), and that I’m working on Barnaby for Fantagraphics with Eric. He said, “Oh! You’re Phil!” And he said that he really loved the article — that it was great, that we really got it (Bone). This made my day. He went on to say that this article was one reason he agreed to write a foreword for the third Barnaby book — and that he’d just been talking to Eric about this.  This made my day again. And my Comic-Con.

Jeff Smith, from Bone Volume 3

It’s also an example of the unpredictability of what you write. My friend Jennifer Hughes and I wrote this article because we thought it would be fun to co-write an article, and I thought it’d be fun to re-read Moby-Dick, fun to re-read Bone, and I’d always wanted to write something on Bone.  It’s not part of a larger project for either of us.  It was just fun to do.  So.  Thanks, Jennifer!  And thanks, Jeff!

Note: nearly all photos from the Berkeley Breathed event are courtesy of Karin Westman.

Comic-Con 2014:

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Comic-Con 2014: San Diego, July 25

And… my third report from Comic-Con!  (A little later than I’d planned because I didn’t get back from the Eisners until around 11 that night… and I’ve gotta sleep, too, ya know!)

Strange Currencies

Barnaby Volumes One and Two, at Comic-Con!

While doing my morning “signing” at the Fantagraphics display, I had an interesting conversation with a woman passing by the booth (her name escapes me, though I believe that I have met her before).  We were talking about the crazy-long lines of fans, queueing up to get free goodies or cheap(er) limited-edition items.  I expressed my bafflement at the long line of folks waiting for a free Lego figurine (I assume) on Wednesday evening. She said, yes, they’ll have a limited-edition Lego figurine, and people will then sell that on eBay for $80.  Some people even take pre-orders.  She told me that last year, her son bought a special-edition something (I forget what) for $300, turned around and sold it for $600.

As the half-dozen homeless people I pass on my way to and from Comic-Con remind me, it’s hard to get by in America.  I’m not sure how much these Comic-Con entrepreneurs depend upon this income, and it certainly doesn’t appeal to me as a vocation / avocation. But, well, these folks have found a way to shave off a little from the entertainment industrial complex.  And that’s something, isn’t it?


Program Line Crossing

From the “signing,” it was off to the Eisner panel! Almost. Got held up during a program line crossing. For the panels with masses of people lining up to get in, the lines snake up and down, around the building, and on and on.  So,… when they finally get to enter, that’s a long line of traffic. Comic-Con volunteers act as traffic cops, and ask us to wait while the maddening crowds pass us by.

Program Line Crossing


Will Eisner, Teacher and Mentor

Paul Levitz, Joe Quesada, Batton Lash, Drew Friedman, Mike Carlin

Missed the first ten minutes of this, but what I heard of it was great — lots of anecdotes and insights, expertly moderated by Paul Levitz.  The program’s panel description gives you a good idea of what to expect and (in this case) what the panelists delivered:

For a magic moment, New York City’s School of Visual Arts had Will Eisner, Harvey Kurtzman, and Art Spiegelman all teaching classes on comics. Hear stories about those classes from students Joe Quesada (Marvel Entertainment), Drew Friedman (Heroes of the Comics), Batton Lash (Supernatural Law), Mike Carlin (DC Entertainment), and a surprise guest. Plus a not-to-be missed discussion about Will Eisner’s other educational efforts. Moderated by Paul Levitz, who is writing Will Eisner: Champion of the Graphic Novel for release next year by Abrams ComicArts.

Drew Friedman observed that there should be a book about teaching in that period — when Will Eisner, Harvey Kurtzman, Art Spiegelman were teaching. (I agree!)

Paul Levitz said, “Jack Kirby could start a drawing anywhere. You could say ‘Draw Captain America, but begin with his elbow.'”  Either he or one of the other panelists said it was as if Kirby had the whole thing in his head and could just start anywhere.

Joe Quesada told us “Watching a professional work can be a mind-altering experience.” He also confided, “I did not go to SVA to be a cartoonist.  I went to be an illustrator.  I wanted to be Norman Rockwell.”

The panelists had a lot to say about how what they learned from these great teachers.

Mike Carlin, for example, learned what not to do: “The way Harvey [Kurtzman] did it was 16 drawings of the same thing over and over again. That taught me never to work that way, or to encourage anyone else to work that way.”

Paul Levitz: Let’s talk about Will, and about the business of being an artist.

Drew Friedman: He was very particular about the artist being in charge of his own fate.  … All three of those guys — — were very particular about the artist being in charge…. Will used to say “Always draw the balloons first.”  I never do that.  I always draw them last.

Batton Lash: Will didn’t like bridges between word balloons.  And then, in Harvey’s class, “You know, you could connect these balloons.”

Mike Carlin: Did Will and Harvey ever hang out?

Batton: Once we invited them out, and they came and that was the only time I saw them together — and [they were] bombed.

Mike Carlin recalled these teachers bringing in guest stars, like R. Crumb. And Terry Gilliam.

Will Eisner, Comics and Sequential ArtBatton Lash remembered an incident, when one of the guest-speakers in Will Eisner’s class said that the comics industry was dying. It was 1973, there was an energy crisis, a paper shortage — if you look at comics from that era, they’re printed on cheap tissue paper, etc.  After the guest speaker left, Eisner said, “I’ve seen the comics industry die 3 times already.” And then he launched into a pep talk.  In fact, Lash says, “the last time I saw Will, he was on one of these industry panels, and he said, ‘I’ve seen the industry die 5 times already.'”

Joe Quesada said that he isn’t nostalgic for Comic-Cons of yore. Says it’s a good time to be in comics. Mike Carlin adds, “20 years ago, this is what we wanted. We wanted our work to be taken seriously. And now it is.”

Paul Levitz asks Drew Friedman about his work, his focus on the past — new book is on old cartoonists. Friedman answers: “I just like drawing old Jews.” (Befitting the man who wrote Old Jewish Comedians, Friedman is great with the one-liners.)

Will Eisner, A Contract with God (1978)Paul Levitz observed: “He [Will Eisner] was one of a few artists who had a philosophy about what he was doing.” And “His art was about storytelling. And whatever the media was to do it, he would do it.” In other words, Eisner wouldn’t be intimidated by different technologies.

And, here’s one final exchange between Mike Carlin and Drew Friedman…

Mike Carlin: Contract with God came out when we were in school there. I remember because he brought them in and sold them to us.

Drew Friedman: He gave me mine.


Moving Forward by Looking Back: This Is the Golden Age of Comics Collections

Moving_Forward_title_slide_web

President of IDW Publishing Greg Goldstein organized this panel, featuring Dean Mullaney (representing the IDW imprint Library of American Comics), Scott Dunbier (IDW’s senior editor of special projects), and other publishers who are not part of IDW: Eric Reynolds (Fantagraphics, my co-editor on the Barnaby series), Peter Maresca (Sunday Press), Michael Martens (VP of book trade sales at Dark Horse Comics), and Craig Yoe (Yoe Books).  Here is everyone, in the order mentioned above.

Greg Goldstein, Dean Mullaney, Scott Dunbier, Eric Reynolds, Peter Maresca, Michael Martens, and Craig Yoe

After spending 10 minutes introducing people, Greg Goldstein asked the panelists how they got into the reprint business.  People addressed that question, including the benefits of modern technology.  As Dean Mullaney said of using Photoshop (versus how they used to do reprints), “We can do so much more and better work.” Comics were poorly printed, the colors were off-register — and now you can fix this.

Charles M. Schulz, The Complete Peanuts 1950-1952Goldstein noted that Fantagraphics’ decision to publish the Complete Peanuts is a lifetime commitment. Eric Reynolds said that “The idea for the Complete Peanuts had been floating around for a while….. We’d done other reprints — Pogo, Prince Valiant…. And Peanuts was always the holy grail.”  This is what got the ball rolling: “Gary Groth got to interview Schulz for The Comics Journal.  So Gary got to go down to Santa Rosa, to interview him.  After that, they maintained a friendly correspondence.  And Gary asked him.”

Charles M. Schulz, The Complete Peanuts 1953-1954According to Eric, Schulz’s sincere reaction was: “Who would want to read that?” And after that, “he was resistant — because he was a very humble guy.  Anyway, Gary could be persuasive and persistent, and after a short time, Schulz gave his blesssing. He said you have to cut through the red tape, but you can do it. Then, however, Schulz died.  Jeannie Schulz stepped in, said “I’ll help you.  I’ll make this happen.” She said “I’ll push this through,” and the rest is history.

Greg Goldstein asked Michael Martens about “volume fatigue.”  Martens said that you do see the sales dropping off as you get into higher numbers of a volume. But he has seen more acceptance of these projects. In terms of the decision to publish a series, he said, “Internally, a lot of our conversations were: ‘How do we make people want the book? How do we make them want the object?’ Essentially, the book as a fetish object.”

Craig Yoe actually doesn’t want to clean up the old strips. As he said, “I heard some talk this morning about the old comics were poorly printed and off-register. And… you say that like it’s a bad thing? … I like that look.”

Geo. Herriman, Baron Bean

As the discussion unfolded, some of the reprints scrolled by on the PowerPoint, including:

  • Crockett Johnson’s Barnaby Volume One (hurrah!)
  • Walt Kelly’s PogoGustave Verbeek's Upside-Down World
  • Gustave Verbeek’s Upside-Down World
  • George Herriman’s Baron Bean
  • Mad Archives Vol. 1
  • E.C. Segar’s Popeye
  • Winsor McCay’s Little Nemo: So Many Splendid Sundays!

Eric Reynolds noted that “Reprints are very expensive, and the profit margins are often very small — even more so than the first one… It’s all about managing your list.”

Michael Martens spoke of wanting to do a reprint of Lassie strips, and proposal getting shut down. Craig Yoe noted, “We all have our Lassies.”

Goldstein summed it up nicely when he said, “With these reprints, the goal is not to make a lot of money. The goal is not to lose money.”

Great question from audience for Peter Maresca, whose Sunday Press has reprinted Little Nemo in the exact size it was originally printed. Audience member asked: “Where are you supposed to put your books? They don’t fit on any bookshelf.”

Maresca’s answer: “Slide them under the sofa. Bring them out every Sunday, and read them.”


CBLDF: Dr. Wertham’s War on Comics

In a dynamic, well-illustrated presentation, Carol Tilley showed us the most absurd and most damning facts about Fredric Wertham’s anti-comics crusade. Specifically, Wertham faked his facts. He falsified his “evidence,” and twisted the stories of his subjects. In so doing, he not only made flawed arguments but lacked the professional ethics required of a researcher.

She began with a letter to Dr. Wertham from a child — Lynn Crawford of Atlanta, Georgia. Ms. Crawford wrote, “Those children you spoke of were delinquent before they ever read a comic book. I have 25 friends and we all read the same kinds of comic books, and they won’t make us delinquent.”

Wertham Seduction! (slide from Carol Tilley's presentation)

Another slide from Carol Tilley's presentation

Here are some of the comics Wertham didn’t like:

Some comics Wertham didn't like.

Wertham, Tilley told us, made up and misconstrued some of his evidence against comics.  He altered kids’ words or knitted together their words in different ways.  He altered key details about the children, too.

Vivian was 13, not 12. She was African-American. Her report card was excellent. We learn that her mother was actually her stepmother, and had revoked Vivian’s allowance. In fact, her mother confirmed that Vivian was more enthralled by television. In the slide below, Tilley shows some of the bits that Wertham invented — those parts are in red and struck through.

Another slide from Carol Tilley's talk.

A few more interesting facts:

  • Published April 1954, Seduction of the Innocent sold more than 16,000 copies within a few months of its publication.
  • During the period of Wertham, sales of comic books outstripped slaes of children’s books from 5 to 1.
  • In the 1950s there were more people reading comics than people playing video games today.
  • The code, however, led to fewer kids reading comics, fewer comics readers.  It also, of course, made underground comics possible — though, Tilley cautioned, “that’s me, trying to find the silver lining.”
  • Speaking of silver linings, Tilley quoted Carl Barks alleging this: “I believe that the infamous book by Dr. Wertham is what saved comics from senseless horror.” Tilley doesn’t concur, exactly. Nor do I. But it is an interesting (if not entirely persuasive) counter-argument, I suppose.

Anyway, ’twas a panel well-worth attending. If you’re looking for a speaker on this subject, invite Professor Tilley!


LGBT Comics for Young Readers

“We want to break down that line that says ‘gay equals adult.'”

— J.P. [Jade Prince]

P. Kristen Enos (Active Voice, Creatures of Grace), J.P. [Jade Prince] & Dusty Jack (Mahou Shounen Fight!), Grace Ellis (Lumberjanes), Brian Andersen (So Super Duper), Elizabeth Watasin (Charm School), Robert Paul (Little Rainbow Comics), Charles "Zan" Christensen (Northwest Press, The Power Within), Dan Parent (Kevin Keller, Archie Comics)

The panelists (L to R): P. Kristen Enos (Active Voice, Creatures of Grace), J.P. [Jade Prince] & Dusty Jack (Mahou Shounen Fight!), Grace Ellis (Lumberjanes), Brian Andersen (So Super Duper), Elizabeth Watasin (Charm School), Robert Paul (Little Rainbow Comics), Charles “Zan” Christensen (Northwest Press, The Power Within), Dan Parent (Kevin Keller, Archie Comics).

I attended this panel because as an educator, I want to be able to introduce my Children’s Literature students to good LGBT fiction. This panel offered a fantastic resource because, well, to quote from the panel description, “Comics today present an amazing range of stories and characters, including more LGBT stories and characters than ever before. Since comics appeal to young and old alike, how do creators use the medium to present LGBT content and characters for younger audiences? What comics are out there for teens and younger readers? How can parents, librarians, and educators introduce such books to young people?”

J.P. summed up the point of this panel when, addressing the shared subject of writing LGBTQ-friendly comics for young readers she said: “We want to break down that line that says ‘gay equals adult.'”  That’s exactly it.

Mahou Shounen Fight!, Chapter OneJ.P. & Dusty’s Mahou Shounen Fight!  Dusty describes this as “doing a version of the magical girl genre (Sailor Moon) but with boys.” J.P. adds, that they “Started the comic to play with expectations. As it evolved, so did the characters, and none are 100% percent heteroseuxal.” Dusty again: “We wanted to create a story that had a rainbow in terms of representation, in every sense of the word — gender, gender expression, sexuality, race, ethnicity. So young people can see themselves in it, no matter who they are.”

Series is on the web, but issues are also available for purchase.

The LumberjanesGrace Ellis’ Lumberjanes (Boom Comics) is about 5 best-friend female characters, 2 of whom are in a relationship. As she puts it, “It’s a story about friends. It’s a story about bad-ass girls.” In one of the issues, the girls visit the boys camp, the head counselor of which is “a physical manifestation of the patriarchy” — but his point of view is presented as unappealing. The boys at this camp are more into baking cookies and hanging out indoors, and the girls (the Lumberjanes) go out and fight monsters. As Ellis says, “If the Lumberjanes are super bad-ass in a traditionally masculine way, the guys are bad-ass in a traditionally feminine way.”  You can buy it from Boom Comics.

Brian Andersen’s So Super Duper and Rainbow & Diva.  The premise of Andersen’s work is that his protagonists are gay, readers know this, but protagonists do not. Discussing Rainbow & Diva (about a spy duo), he said that instead of super-hetero guy who beats people up, “I wanted a super-flamey gay guy who also beats people up.”

Elizabeth Watasin’s Charm School is one of the only titles at this panel that I actually knew.  I have the first issue of this.  I wondered if it continued, but was busy & never had a chance to follow up on it. What’s it about? Watasin compares Charm School to an Archie comic, explaining that it’s “a very fun love triangle set in Little Salem, with vampires and hot rods and malt shops.”

Robert Paul’s Little Rainbow Comics is about 1st-graders who are more articulate than 1st-graders, but are still children. He invokes Stewie on Family Guy as a point of comparison. Since I’m not much of a Seth McFarland fan, I would invoke Peanuts or Calvin & Hobbes. The comic is on the web and available as a book.

David Kelly, Rainy Day RecessDavid Kelly’s Rainy Day Recess. Kelly himself wasn’t on the panel, but Northwest Press publisher Zan Christensen was. I picked up a copy at the Prism Booth. Here’s a blurb (on the back cover) from Alison Bechdel: “David Kelly captures the solitude and magic of queer childhood with an eerie realness. The detritus of seventies pop culture that generously litters his panels adds deliciously to the bittersweet mood.”  The book collects Kelly’s strips from 1995 to 1998.

Zan Christiansen’s The Power Within started as a 24-hour comic-book-day comic, back in the fall of 2010 with all the gay suicide attempts, and suicides. As Christensen says, “All we could think about is how do we make kids feel better? How do we help them?” You can get the book here.

Dan Parent’s Kevin Keller stories.  Parent, who has has been with Archie comics for 27 years, created Kevin Keller, the first openly gay character in Archie.  Parent talked about George Takei’s celebrity cameo — or, really, storyline in one Kevin Keller narrative.  Takei grew up reading Archie comics when he was in an internment camp.


Pogo: A Celebration of Walt Kelly’s 101st Birthday

Mark Evanier, Carolyn Kelly, Leonard Maltin, Maggie Thompson, Jeff Smith's empty chair, David Silverman, Willie Ito

Moderator Mark Evanier (Groo the Wanderer) said that they had such a good time celebrating Walt Kelly’s 100th birthday last year that they wanted do it again. Indeed, “If they keep letting us do this, we’ll do Walt Kelly’s 102nd birthday, 103rd birthday, 104th birthday… until he comes back.”

Spotting Willie Ito in the audience, Evanier invited him up to join the panel — Ito drew Pogo in Walt’s later years when his health was failing. So, above, you see (left to right): Mark Evanier, Carolyn Kelly (co-editor of the Complete Pogo series and Walt’s daughter), Leonard Maltin (the film critic), Maggie Thompson (Comics Buyer’s Guide), Jeff Smith’s empty chair, David Silverman (The Simpsons), and Ito.

Discussing Pogo‘s influence on him David Silverman said, “I was drawing since I was 4. My father read us Pogo. So, at 5 years old, he’s reading me Pogo. And I’m not really understanding a lot of it.  But I really took to the style of it, and the drawing. It made me want to become a cartoonist.” If his parents had hoped he wouldn’t become a cartoonist, they shouldn’t have read him Pogo.

Jeff Smith arrives!

Mark Evanier, Carolyn Kelly, Leonard Maltin, Maggie Thompson, Jeff Smith, David Silverman, Willie Ito

Willie Ito spoke of working on Pogo:

Walt took ill and was unable to complete his commitment. So, Walt figured that Don Morgan is the only one capable of following through. But then Don came to me, and said I just promised my son Ethan we’re going to go off to the woods for a vacation, and I can’t break his heart. So, can you help me out? So, can you help me out with two weeks of days?

Ito thought he’d have to use a brush, as Walt did — but he didn’t have time to practice with a brush.  So, he used his Pentel pen, instead.  So, Ito continues, “And I thought I did a passable job. And I guess Don was able to pass it off. But a few years later, I learned that Shelby was really annoyed, and said ‘It looks like it was done by some Japanese artist in Japan.’ And I said, ‘Well, she’s half-right.'”

Silverman says he “Learned how to create subtlety of expressions from Kelly.”  At one point, Jeff Smith said he loved “the brushwork when Kelly flubs it” — and he mimed a hasty scribble with his hand here — “and still makes it look good.”

Smith also recalled the first time he saw Kelly’s work: “I encountered Walt Kelly on a playground because some little girl gave me a copy of of [Pogo in] Pandemonium. It was very fantasy-based. When I look back on it, I realize that’s why Bone veers off in that direction. Every time I think I’m getting this comic book game down, and then I look at Pogo and start banging my head….’

Silverman said that “Thanks to Walt Kelly, I always thought ‘Weehawken’ was an exclamation of joy, and not a city in New Jersey… I keep trying to edit the Wikipedia page, and they won’t let me….”

Maggie Thompson told the story of Kelly’s plans for a sci-fi strip that would be satirical.  But the Korean War broke out, and the syndicate said just keep it funny — no other commentary.  So, as a result, this political commentary comes into the Pogo strips instead.

Near the end of the panel, they invited Eric Reynolds up to join them because he had a dummy of the next Pogo volume.

 Eric Reynolds, Carolyn Kelly, Leonard Maltin


Lou Ferrigno

And, just because, here is Lou Ferrigno, who played the Incredible Hulk on the TV series (1978-1982).

Lou Ferrigno


Eisner Awards

Attended my second Eisner Awards because I was again a nominee this year.

And, yes, I also tweeted a little while I was there.

Matthew Inman won “Best Digital Comic” for The Oatmeal.

Faith Erin Hicks won “Best Publication for Kids” for The Adventures of Superhero Girl. She was so moved by having won the award that she teared up a bit as she was thanking people. It was very sweet. I love this book. And, for the record, the other books in this category (well, the ones I know, anyway) are great: Luke Pearson’s Hilda and the Bird Parade, and Fanny Britt and Isabelle Arsenault’s Jane the Fox and Me.

“Best Scholarly/Academic Work” (the category in which I was nominated and lost last year) went to Sheena C. Howard and Ronald L. Jackson II’s Black Comics: Politics of Race and Representation, which — incidentally — is the only one of the nominated books that I actually have a copy of. (Yes, I need to get some of the others, I know….)

And… the category we’ve all been waiting for… “Best Archival Collection/Project — Comic Strips”… goes to…

Ah, well.  To be honest, I had no idea how to even weigh the odds (I mean, apart from the fact that Eric Reynolds and I had a 1 in 6 chance for Barnaby — since there were five other nominees). But, as Charlie Brown says (after yet another catastrophically bad season in little league), “Just wait until next year!” No, no — I’m kidding. Truly, it’s nice just to be nominated. Also, I think “two-time Eisner loser” is a funnier accolade. Unless you’re Jaime Hernandez, who after I-have-no-idea-how-many-times of being nominated and losing finally won!!! Which is awesome.

Jaime Hernandez wins Eisner

Gilbert Hernandez won tonight, too.  This is great news!

Gilbert Hernandez wins Eisner for "Untitled" (in Love and Rockets New Stories #6)

Jeff Smith won his 12th Eisner.  OK, it might not be 12th.  It might be more.  (I’m not sure how many Eisners he’s won, but it’s an impressive number!)  This year, he won for RASL.  Also, and I don’t think this can be said often enough: Jeff Smith is such a nice guy. (His success has not gone to his head!)

Jeff Smith wins Eisner Award for RASL


Goodnight, fans everywhere.

Fans camp out at Comic-Con. No, I don't know what special event they're hoping to get in to.

Goodnight, lines. Goodnight, crowds.  Goodnight, fans sleeping on the sidewalk.


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Comic-Con 2014: San Diego, July 24

Welcome to day 2 of my unashamedly idiosyncratic coverage of the 2014 San Diego Comic-Con. Let’s start with a little cosplay, shall we?


Cosplay!

Miss Martian

Captain Hook, Red Queen, & friends

I don't know who this character is. Power Ranger, maybe?

One could spend all day photographing people in their costumes. I didn’t. These (above) are just a few I happened to catch. Instead, I went to panels, such as:


Charles Schulz and Social Commentary in Peanuts

Corry Kanzenberg, Tom Gammill, Art Roche, & Seth Green

This panel featured a presentation by Corry Kanzenberg (at left, curator, Charles M. Schulz Museum). Panel discussion followed with her, and (left to right): moderator Tom Gammill (The Simpsons, Futurama, Seinfeld), Art Roche (content director, Charles M. Schulz Creative Associates), and Seth Green (Robot Chicken, Family Guy, Buffy the Vampire Slayer).

Peanuts panel: title slide

At the moment the panel begins, Seth Green arrives (right on time!), and — during the brief conversation after the panelists introduce themselves — Green recalls a phone call from Jeannie Schulz (Charles M. Schulz’s widow) after Robot Chicken had done an episode in which they killed off all the Peanuts characters. Green was worried that he’d be in trouble. Instead, Jeannie was phoning to say “that sort of humor was exactly the sort of stuff that Sparky would have liked.” Green was so moved, he says, that he “started crying.”

Then, Corry Kanzenberg’s presentation, in which she shows such strips as this one, in which Linus mistakes snowflakes for nuclear fallout.

Peanuts: "Good grief. I thought it was the fallout!"

Politically, Corry says, Schulz’s politics were “kind of middle of the road.” Indeed, in the case of one strip that mentions school prayer — one of the most controversial Peanuts strips (from, I think, 1963) — Schulz received lots of requests from both sides of the issue, asking to reprint the strip. He denied them all, because he didn’t want to appear to be taking sides.

However, at times, he was willing to take more of a stand — such as, in 1968, when he integrated Peanuts, introducing the character Franklin. He also took a stand in advocating for Title 9, as (a) seen in this strip and (b) suggested by this photo of Schulz and Billie Jean King.

Peanuts: Title 9, Schulz, & Billie Jean King

As I side note, I really loved this photo with Joan Jett, Debbie Harry, David Johansen, & Joey Ramone.

Joan Jett, Debbie Harry, David Johansen, Joey Ramone

The story is that it was a mock wedding between Debbie Harry & Joey Ramone, and they used the Peanuts Treasury as the Bible.

During the panel discussion, Art Roche (the licensing-and-marketing guy) says, “People always want to put Peanuts on whatever case they have.” For example, “We just had the World Cup. There were several countries want to put the Peanuts characters in their World Cup uniform. And that’s OK. And there are other cases where they want to put the Peanuts characters in religious shrines,… and that’s not O.K.”

Seth Green observed, “As you all did, I grew up on Peanuts. It seemed so soft from the outside, but underneath, it’s incredibly thought-provoking.”

Hilarious moment: Fred Tatasciore (who plays the Hulk on the Hulk and the Agents of S.M.A.S.H. cartoon) does the Miss Othmar/adult Peanuts voice and asks the panel an (incomprehensible) question. Seth answers the question straight, as if he understood it. Tatasciore asks a second question, and Seth again answers as if it were perfectly normal. Tatasciore does an adult-speak incomprehensible thank-you & yields the floor. Seth then explains to us that we’d just been listening to Fred Tatasciore.

A few other interesting facts I learned:

  • Schulz created 17,897 Peanuts strips.
  • At its height, Peanuts was published in 2600 newspapers, and 75 countries — making it one of the most successful comic strips ever.
  • In Japan, Woodstock is very popular — so much so that people know the names of Woodstock’s friends. Harriet, Olivier, Conrad.

Comic Arts Session #3: British Comics, Genre, and the Special Relationship with American Comics

To quote the panel description, “Chris Murray (University of Dundee) discusses the often-overlooked and peculiar history of British superheroes, arguing that they reflect the changing relationship between the two countries in the aftermath of World War II. Julia Round (Bournemouth University) investigates the use of gothic and horror tropes in British girls’ comics of the 1970s and 1980s, which, she argues, draw on some of the tropes of the previous generation of American horror comics. Phillip Vaughan (Duncan of Jordanstone College of Art and Design) analyses British science fiction comics in terms of the influence from American comics, and considering their relationship to British and American television and film.”

British Superheroes (title slide for Chris Murray's presentation)

Chris Murray, who is writing a book on British superheroes, gave a fascinating talk.  I knew nearly nothing about British superheroes — save for, say, Alan Moore and Dave Gibbons’ versions of American superheroes (in Watchmen). His argument is that British superheroes “are based on the British political relationship with America.”  He noted that the superhero “is such a perfect icon for America, as the American empire is taking off.”  At the same time that’s happening, “the British empire is in sharp decline,” as its place in world history is being taken over by America.  As a result, “there’s an ambiguous, tense, relationship with America.”

Most of the lines of influence come from America, but there are the occasional images from British strips — such as this one, from Captain Q — that do make you wonder if there were any trans-Atlantic influence going in the other direction.

Captain Q

I was interested to learn that British comics tended to have pictures and a lot of text. Indeed, sometimes when they adapted American comics for the British market, they’d add lots of text! This text-heavy style became known as the Amalgamated Style (because Amalgamated Press favored it).

Superman (in Triumph, UK 1940)

Murray noted that American comics were much more visually sophisticated, adding that British comics like Dandy and Beano succeeded because they copied American comics’ visual style.

Dandy and Beano

This Captain Miracle comic strove so ardently to convey that it was American that — as its subject — it faced racism in the American south.

Captain Miracle

There’s also a strain of British superhero comics that don’t take themselves too seriously, such as Bananaman, who gets his superpowers from… bananas?

Nutty & Bananaman

Fascinating stuff.  This is going to make a great book!

Julia Round‘s focus was Misty — an anthology comic for girls (1978-1980), which has been described as a “female 2000 A.D.

Misty

She gave us an intriguing history of girl comics in Britain.   These start in the 1950s, featuring girls all in “gender-approved occupations. I was particularly interested by the long-running “Four Marys,” which ran in Bunty.  It featured four different Marys, each of different social class, at boarding school.

Evolution of British girls' comics

The tales of peril in Misty seem to be a response to these earlier ones. Such tales, she says, are “not new in girls’ comics, but there is a darker, more mystical turn here [in Misty].”  She in particular praised the tension between moral content and ironic comment in Misty because there were “no comforting conclusions here”

Misty: Dare you read it alone?

Phillip Vaughan‘s paper was:

Vaughn: title slide

He assembled a great collection of information on the subject, and had lots of slides to share. To be frank, he is, I think, still working out what story he wants to tell about this material.  And that’s fine.  But one result, for me, was that I was wondering: What’s the narrative of this history? I hope that my saying this doesn’t come across as overly nit-picky or critical. I’m very familiar with this struggle. It’s the central task of the biographer, too.

And, as I say, he presented great information in very elegant slides. For instance, he told us that one British response to American horror comics was Dan Dare, a very stiff-upper-lip pilot of the future.

Dan Dare

Here are a couple of comics based on the TV show Dr. Who.  The show, he noted, had a limited budget.  In contrast, the comic could depict more.

Dr Who

Daleks

There was also a UK strip based on Star Trek. The strip, created by UK writers and artists, “had a different flavour.”

Star Trek


Gene Luen Yang in Conversation with Scott McCloud

Scott McCloud & Gene Luen Yang, Comic-Con, 24 July 2014

The panel description is “Comic-Con special guest Gene Luen Yang (The Shadow Hero) and Scott McCloud (Understanding Comics) talk comics, creative processes, current and upcoming projects, and the general state of the industry. It’ll be awesome.” But Scott McCloud stressed that the focus here was on Yang, not on himself (or on them both equally) — McCloud had a panel later that day devoted to his new book.  Sadly, I had to go to a signing & so missed that panel.

But… I did attend this one!  Here are my notes.  (I would write them up in to something more coherent, but this account is taking longer than I thought it would!  Apologies…)

Gene Luen Yang: This is surreal for me. Scott McCloud is one of those seminal voices in my childhood. … If you had told 19-year-old me that I’d be on this panel with Scott McCloud, my head would have exploded.

Boxers & Saints

Scott McCloud: One question on Boxers & Saints. [McCloud shows slide of book where they’ve been put in the box in the wrong order, so that the spines do not form a face.] Do you ever just want to punch anyone who puts it in like that ?

GLY [joking]: The last time I punched someone, actually, was…”

SM: You’ve been making comics for about 15 years…?

GLY: I’ve been making comics ever since I read Understanding Comics.

McCloud will be editor of next (2015, I presume?) Best American Comics….

Gene Luen Yang’s latest is the Shadow Hero — a revival of a the first Chinese-American superhero comic. But, Yang tells us, the comic’s original publisher didn’t agree to allow the protagonist to be depicted as ethnically Chinese.  So, the artist who created the comic responded in a passive-agressive way.  He never showed the hero’s face.

Gene Luen Yang, American Born ChineseSM: You may be one of the most unpredictable writers on the planet. … When Chin-kee showed up [in American Born Chinese], my jaw was on the floor…  From the very beginning you were addressing Chinese-American experience, Asian-American experience, but… in such a subtle way,… “with eyes unclouded by hate.” Sorry– Princess Mononoke line.

GLY: I love that line.  I think, especially with Cousin Chin-kee, I did that as a mini-comic, I think maybe 12 people read it, and 11 of them were people I knew. I could have called them up to explain any misunderstanding.  I wonder if I would have done it the same way if I were doing it as a book.

SM: Who would have thought this book would have become so accepted?

GLY: There’s something about the intimacy of comics that gives you this sort of false bravado….

Yang and McCloud both praise Michael DeForge’s comics. McCloud praises Yang as a writer of prose — “that directness.  Telling a story in an unexpected way.”

SM: You’re drawn to collaboration. Why?

GLY: They’re two different experiences.  When you’re working with someone else, you’re telling a story in a mixed voice. … With something like Boxers & Saints, it came out of my whole childhood — I grew up in a Chinese-American Catholic community. … It expressed a sense of the difference between Eastern and Western ways of looking at things that I had felt since my childhood.

Yang admits to having a bad color sense. (That’s why he had a colorist for Boxers and Saints, he says.) Scott McCloud admits same. Yang says he’s going to tell his wife so that she stops picking on him about it.

McCloud, in a slightly roundabout way, asks Yang about religion (McCloud starts with mythology)…

GLY: At the root of religion is that story is important, that story is how we as human beings organize ourselves. … Person hearing the story should have a personal relationship with that story.

GLY: Within the Bible, my favorite book is The Gospel of Mark.  It has two endings.  One: two women leave the tomb, they’re sad.  Two: 16 completely ruins it.  First is better because it’s uncertain — it leaves you to resolve it in your own life.

McCloud and Yang both admit to not having seen M. Night Shyamalan’s adaptation of Avatar the Last Airbender, though Yang offers that he’s “heard that [watching] it’s like punching yourself in the face over and over again.”  In further discussion of (what I’d call) the racist casting of Shyamalan’s Avatar, Yang says, “I don’t think I could ascribe any racism to the decision. I think it was driven by the market.”

They talk about teaching — Yang had left teaching, but is going back to teach computer science (one class per year) because he misses it.

SM: Surely, there’s a role of an educator that plays a role in your storytelling

GLY: I think I’m kind of like you in this. I’ve been called Asian Scott McCloud before. … For me, I think if I go into a story and I’m trying to deliver a message,.. I find that the story comes out anyway.

They start to talk process….

GLY: Do you outline?

SM: OK! Let’s talk shop! I do outline, and then I do super-obsessive, anal-retentive layouts….  How do you do it?

GLY: I’m an outliner.  When I started out, I wanted to be more of a pantser. But I became a planner. [Pantsers flies by seat of their pants.]

SM: I wanted to be a pantser, too, but my dad was an engineer.

GLY: My dad was an engineer, too!

SM: I thought so!  About 10 minutes ago, I was thinking: I wonder if his dad’s an engineer?

Both mention and praise Anya’s Ghost….

SM: John Green really loved Boxers & Saints…. and he doesn’t think of himself as writing for a YA audience. He thinks of himself as writing for an audience.

GLY: I don’t think comics has traditionally thought a lot about age categories.

I then had to dash out so I could get to my signing — or, to be more accurate, my “signing.”


Don Rosa, Trina Robbins, and Yours Truly

Trina Robbins, Don Rosa, and Philip Nel

From 4 to 6 pm, I sat at the Fantagraphics booth, signing copies of Barnaby Volumes One and Two. By which I mean to say: From 4 to 6 pm, I sat at the Fantagraphics booth. I enjoyed chatting with the Fantagraphics gang (Eric! Jacq! Jen! Kristy!), Bob Harvey, assorted passers-by, and — at the signing table — Trina Robbins, and Don Rosa! Trina Robbins has the original Holt hardbacks of Barnaby, and Don Rosa remembers watching the 1959 TV special (starring Bert Lahr as Mr. O’Malley, and Ronnie Howard as Barnaby).

And it was really fascinating watching Don Rosa draw. Here he is drawing Scrooge McDuck for a charity auction:

Don Rosa draws Scrooge McDuck

He says people who watch him draw see him sketch the drawing, and then — as he draws the ink lines — see him not drawing directly on the sketched lines. “Why don’t you draw on the pencil lines?” They ask. “Those lines just tell me where not to draw,” he replies.

Don Rosa draws Scrooge McDuck, continued...

Don Rosa draws Scrooge McDuck, continued again...

Don Rosa draws Scrooge McDuck, continued yet again...

Sitting behind him, in the last photo, is a fan from Norway.  No less than three Norwegian fans came up with books to sign. He also had fans from Sweden, Mexico, and various parts of the U.S. He told me he’s much more popular in Europe.  There, fans line up for hours to get his autograph.  Here, in the U.S. the lines aren’t as long — indeed, Europeans (especially those from the Scandinavian countries) will sometimes fly to a comics convention in the U.S. where it’s much easier to get his autograph.

He was very gracious to all the fans, inscribing their books, drawing a picture if asked. Rosa makes no profit from the sales of these books. That money all goes to Disney. But he’s glad to see his works getting reprinted here, in the U.S. And he’s glad that his friend Gary Groth’s company can profit from that a bit, too.

That’s all for tonight!  I’ll be signing (or “signing”) again at the Fantagraphics booth (#1718) between 9 and 10 am on Friday. Stop by!


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Comic-Con 2014: San Diego, July 23

San Diego Comic-Con 2014

The world is too much with us; late and soon,
Getting and spending, we lay waste our powers;—
— William Wordsworth, “The World Is Too Much With Us” (1802)
SHARKNADO
GO SHARK YOURSELF!
— promotional material for Sharknado 2: The Second One (2014)
Sharknado 2 (promotional materials, handed out on the streets near Comic-Con)

Greetings! I’m here at Comic-Con in San Diego, delivering a glimpse of the goings-on for you, my loyal readers. It is the very first evening of Comic-Con (though there are some sneak previews this evening, the programming proper begins tomorrow). So, I thought I would begin by assuring you that, despite what you may have heard from Fox News and other pessimists, capitalism is thriving here. Advertising covers all available surfaces:

buildings,…

Ascension advertisement, side of building, San Diego: the dummies of people are wearing clothes that rustle in the wind.

the train,…

Gotham, advertised on side of train.

and, of course, the body.

Vampire Diaries: advertisement on back of Comic-Con backpack worn by attendee

All those who register for Comic-Con get one of these great big canvas bags/backpacks, designed to carry lots of merchandise (and to go a bit easier on the back than a tote bag would!). Beyond making it easier for you to carry what you buy, each bag also turns the user into a walking billboard, advertising whatever is on the back.  Mine has Adam West and Burt Ward, in the original Batman TV series (1966-1968), which will be released on DVD and Blu-ray later this year.

Speaking of advertising,…


Barnaby 1 and 2 at Fantagraphics booth, Comic-Con, 2014I’ll be at the Fantagraphics booth (#1718), signing Barnaby books (which I co-edited with Eric Reynolds). Currently available: Barnaby Volume One: 1942-1943 (2013) and Barnaby Volume Two: 1944-1945 (2014).

Schedule of my signings (and the far more illustrious people who will be signing at the same time):

Stop on by, even if it’s just to say hi! And click here for full schedule of Fantagraphics authors & editors.


For those who have a four-day pass or “Professional” badge (as I do), the exhibit hall was open tonight for three hours.  It’s nice to get in before the hall gets too crowded.

Comic-Con 2014, exhibit hall: Star Wars

I’m only being partially ironic in saying it’s not yet too crowded. I was in this section of the exhibit hall on the first full day of the conference last year, and it was shoulder-to-shoulder. You couldn’t move at all. Tonight, movement was still possible.

Comic-Con 2014, exhibit hall: Walking Dead

Comic-Con 2014, exhibit hall: Simpsons, Tomb Raider, Dark Horse

So many people to meet! In the photo below, I greet fellow educator Principal Skinner, and we grin maniacally at each other. As we always do.

Principal Skinner and me.

Last year, I got to meet Snoopy. I didn’t see him this evening. I hear he’s been spotted atop his doghouse, with his typewriter, working on his novel. Maybe that round-headed kid can convince him to come by and meet his fans. Here’s hoping!

Why, hello, Kitty!  And Black Rose Alice!

Hello Kitty

Hello, Monster High merchandise!

Monster High dolls

Hello, Spawn!  And Rocket Girl!  And Rat Queens!  And, oh, who am I kidding?  I’m out of my depth here.

Spawn and others

I don’t follow the entertainment industry that closely anymore. There are good television programs and films out there. But I rarely get around to watching them. I recognize the older characters — though I’m amused to see Alfred E. Newman peeking out from between superheroes….

The Flash, Alfred E. Newman, Batman

I’m here for the comics — or “graphic novels,” to use the preferred industry term. I like to see what’s being published: new stuff, classic comics, kids’ comics, all of it. And I like to learn from the creators and the scholars on the comics panels.

Some of what I got this evening (omitted by accident: Seth's The G.N.B. Double C)

This year (as last year), I’m also here because a book I worked on was nominated for an Eisner — this year, it’s Crockett Johnson’s Barnaby Volume One: 1942-1943 (co-edited with Eric Reynolds, for Fantagraphics; designed by Daniel Clowes, foreword by Chris Ware, intro by Jeet Heer, Afterword & Notes by me). Will I become a two-time Eisner Loser? We’ll find out Friday evening….


Comic-Con 2014:

Comic-Con 2013:

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