Archive for Paul Pope

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, San Diego, Sunday, July 21

No Face (from Miyazaki's Spirited Away)

Welcome to the final day of my admittedly idiosyncratic coverage of the 2013 Comic-Con in San Diego. As on previous days, I’ve given each event or topic a heading so that you can find whatever interests you and then skip the rest.

Getting Into Character

You could spend all of your time here photographing people in their costumes. Some of the people in their costumes seem to come primarily to be photographed. People ask them, they agree, and then they stop and pose. And lots of people take photos. I can’t imagine that these folks make it to many panels.

But they do such an incredible job with their costumes. Truly impressive, and such a wide array of characters — from comics, movies, TV shows, video games, even some from children’s literature. (I saw a Thing One and Thing Two today.)  Here are a few cos-players that I’ve photographed during the past few days.

Poison Ivy and Two-Face

Poison Ivy and Two-Face.

Spy vs. Spy

Spy vs. Spy.

One cos-player photobombs other cos-players

One cos-player photobombs other cos-players.

Funky Winkerbean’s 40th+ Anniversary

Tom Batiuk and Alex Sinclair

Featuring Tom Batiuk (creator of Funky Winkerbean), and Alex Sinclair (who has done coloring for Funky and for a lot of other comics), this panel marked the 41st year of Funky Winkerbean.

Tom Batiuk has a wry sense of humor, and solid comic timing. Describing Phantom Empire (starring Gene Autry) — an over-the-top combination of western, science fiction, and musical — he said it “viewed genre as an inconvenience.”  He’s also fond of one-liners like “So, I got up early one morning at the crack of noon.”

Batiuk recalled reading comics — or having his father read the comics to him — in the 3rd grade.  He started drawing them not long after. As he said, “I got my first comic book, and learned that there was a party going on inside.”

A couple of choice quotations from Tom Batiuk:

“I’ve spent the last 40 years in a room by myself. I’m lucky. I’m a fortunate person. I like spending all day in a room by myself.”

“People often ask me how to get into comics. The first thing I say is don’t have a plan B. And the second thing is try to get a room on the sunny side of the hospital.”

Alex Sinclair talks about coloring the story of Lisa’s cancer, and how in coloring these Funky Winkerbean strips he did the opposite of what he did in comic books. Instead of bright colors, he went for realistic coloring.

The strips about Lisa’s cancer — displayed on the screen — were so very moving that you could hear the audience sniffling (me, too). The strips’ tone makes them so effective. They leaven the sadness with humor, but they do so with a light touch, offering a smile in the darkness rather than a laugh.

Two more quotations, in which Tom Batiuk addresses the sometimes serious subject matter of Funky Winkerbean:

“I still get emails: ‘I really love your strip, especially the early funny ones.’”

“I don’t owe people a funny strip each day…. But what I am obligated to do is give you the best work I could possibly give you every time.”

Faith Erin Hicks in Conversation with Jeff Smith

Faith Erin Hicks and Jeff Smith

Though he was the rock star on this panel, Jeff Smith kept the focus on Faith Erin Hicks. In addition to being a great cartoonist, Smith is also a great moderator/interviewer.

Faith Erin Hicks and Prudence Shen, Nothing Can Possibly Go WrongThis conference introduced me to Faith Erin Hicks’ work, and I’m now a fan. I bought two of her books while here: The Adventures of Superhero Girl and Nothing Can Possibly Go Wrong (adapted from Prudence Shen’s novel). I’ll definitely be buying more, and — I expect — teaching her work in my Literature for Adolescents class. (See also her comments on the “Drawing Stories: What’s New in YA Graphic Novels” panel from my Friday, July 19 Comic-Con report).  OK, now on to the panel itself.

Hicks told us, “I was a teenage wanna-be reader of comics, but there were no comics for me.” And so, “I literally started making comics because I wanted Buffy the Vampire Slayer in comic-strip form.” Her early comics, she says, were Buffy knock-offs.

Faith Erin Hicks: I’ve made over 2200 pages of comics.

Jeff Smith: Wow. Nice.

Faith Erin Hicks: And I’d say over half of them are not terribly good.

Hicks was so happy to be interviewed by Jeff Smith. As she said, “I’ve been having the most amazing time at this Comic-Con…. I’ve met all my artistic heroes.  Getting to sit here and talk with you [Jeff Smith]. … I got to meet the creators of Avatar: The Last Airbender, and got to talk with them. … And just this morning, my editor introduced me to Joss Whedon.”  Things are going well for her.

But they haven’t always gone well. She recalled being here at a Comic-Con some years back, and not having enough money to buy meals… and so seeking food at various receptions. She moved to Halifax in 2005 for a job in animation, but that company let her go in 2008. At that time, she wondered whether to look for another job in animation or make comics her full-time (instead of part time) vocation. She chose the latter and has been very happy.

Faith Erin Hicks: I now get to make my living making comics.

Jeff Smith: You quit your day job.

Faith Erin Hicks: My day job quit me.

Smith and Hicks talked about the increase of women in the comics business. Smith observed, “When Vijaya [Iyer, Smith’s wife and business partner] and I came here in 1993, the women’s restroom was like a palace. There was no one else in there. It was just her and Vampira.”

Jeff Smith, Bone vol. 1: Out from BonevilleFaith Erin Hicks big influences — the first comics that really spoke to her — were Jeff Smith’s Bone, and Naoki Urasawa’s work. She tells us that “Manga didn’t have an impact on my style. … But it had an impact on my pacing.” She noted that the pacing in Smith’s work is also like that of manga. He said that he’d heard that, but never read manga until recently, and then, sensing that the conversation had veered toward him, Smith — great moderator and kind person that he is —interrupted himself. “I don’t want to talk about me,” he said, and then steered the conversation back to Hicks.

Discussing future possible projects, Hicks told us, “My most rejected pitch [is] about an office that is a waystation for dead people.”  She added, “It’s been rejected everywhere.”

“It’s the very first comic I’ve done that has no supernatural bent to it.”

— Faith Erin Hicks on Nothing Can Possibly Go Wrong (her latest book, 2013).

Faith Erin Hicks starts each day with a run because first priority of cartoonist is to take care of yourself.  She then works 12 hours a day (taking a break fo make supper, see the boyfriend), 6 days a week. She takes Saturdays off … unless deadlines demand that she works Saturday.

Faith Erin Hicks, The Adventures of Superhero GirlI asked whether there’d be more Adventures of Superhero Girl, and she said that she’d like to do more but wasn’t sure where she’d find the time. I completely understand. The more your career gets going, the harder it is to commit to anything not already under contract.

In response to another audience member’s question, Hicks told us that Demonology 101 will never be published in book form because she feels it’s not good enough — she’s just not comfortable selling it. But, she said, it will always be available on-line.

Jeff Smith can relate to that. People ask him to publish the Bone strip he did (“a sort of proto-Bone“), but he says no: “The drawing is terrible, the jokes are terrible.”

Hicks also recalls her comic strip, Font Management, which she did for her college newspaper. She also speaks of it with disdain. (The joke in the strip’s title concerns how to use typefaces to make your essay seem longer.)

“It looked like a guy in a big rubber batsuit fighting a villain on a train. It looked too real.”

— Jeff Smith on the Chris Nolan Batman films, and why he skipped the last one

Some recent work Faith Erin Hicks recommends:

  • David Aja’s Hawkeye
  • Sienkiewicz’s New Mutants

“‘I am going to make superhero comics for me.’ I think that’s my whole career.”

— Faith Erin Hicks

Audience member asks, “Do you have a dream project?”

Jeff Smith (answering for her): It’s a way-station for dead people.

Faith Erin Hicks (joking): Iron Man! I really want to do Iron Man!

Faith Erin Hicks (serious): I would really like to something longer — 3 books, maybe. … I’d like to do something in a historical fantasy setting.

“Once comics become your life, you have to make decisions on what you spend your time on.”

— Faith Erin Hicks on why she’s no longer a gamer

I was struck during this panel and others by how much comics work can be like academic work. Choose the projects that interest you. Since you sit most of the day, make sure you exercise. You’ll work long, long hours (including weekends), but the work will be interesting. Both careers are very self-directed, with all the benefits and perils implied by that. The main difference is that us professors don’t need to make a living from our books, whereas comics artists do. But we’re similar in that we also do other work (in addition to our books) to make ends meet.

Gene Deitch

Philip Nel, Eric Reynolds, Gene Deitch, Zdenka Deitch

Stopped by the Fantagraphics booth to have a proper chat with animation/cartooning legend Gene Deitch. I introduced myself after his panel on Thursday, and thanked him for his help on the bio. of Johnson and Krauss. But I didn’t get the sense that he remembered our correspondence. So, Eric Reynolds and I chatted with him a bit. Eric re-introduced me: “This is Crockett Johnson’s biographer.” We showed him the new Barnaby book and my bio.

Deitch recounted the story (which you can find in his essay, “The Picture Book Animated,” and in my bio.) about animating A Picture for Harold’s Room. That story granted me a lot of insight into how complex Johnson’s Harold books actually are. Each Harold book is essentially one large drawing. To animate it, Deitch couldn’t add a tiny piece of the picture in each new frame because, if he did so, the line would look jerky. So, they drew Harold’s entire picture first, and then filmed Harold erasing that (with his crayon). When you run the film forwards, it looks like he’s drawing the picture. Also challenging for Deitch is that the film has no cuts. It’s one continuous animated film.

I bought Nudnik (the DVD and the book), and Cat on a Hot Thin Groove (collection of Deitch’s cartoons for the record industry).

Paul Hornschemeier draws Crockett Johnson

From 2 to 4 pm, I hung out at the Fantagraphics booth with Paul Hornschemeier — our signing was again at the same time. Not long after we sat down, Paul began sketching a portrait of Crockett Johnson, using the photo on the back cover of Barnaby Volume One.  Remarkably, he did this sketch while talking with other people and posted it to his Tumblr during our signing.

Crockett Johnson by Paul Hornschemeier

This is the third cartoonist’s portrait of Crockett Johnson. In addition to Johnson’s self-portrait, there’s Chris Ware’s (on the cover of my bio.).

Paul Hornschemeier, All and SundryPaul is a versatile artist, as his latest collection, All and Sundry, shows. Since our signing wasn’t exactly mobbed, I spent some time reading his All and Sundry and The Three Paradoxes. I bought The Three Paradoxes solely because it was easier to transport (a smaller book). Both are well-drawn and thought-provoking, and I’ll be ordering the other from Fantagraphics when I get back.

By “wasn’t exactly mobbed” I mean, of course, that very few people came. A former classmate stopped by with her husband, and bought Barnaby.  A few other folks came buy and bought books. There is some good news: when I left (less than an hour before the exhibition hall closed), Fantagraphics had sold all but one copy of Barnaby Volume One.

Paul Pope & Gene Luen Yang

Paul Pope & Gene Luen Yang

I missed most of this because I was down in the exhibit hall, signing books (well, a few books, anyway). And… for the few minutes that I was there, I didn’t take notes.

So, about all I can tell you is this. Paul Pope listens to Beethoven while writing — Beethoven’s Third Symphony is his favorite. Depending on the kind of work he’s doing (inking, say), he also listens to heavy metal.  Gene Yang can’t listen to music while he’s working.  As an ’80s child, he did admit to a fondness for Men Without Hats.

And this: An audience member asked Yang whether he would write something more autobiographical, exploring the complexities of Asian identity. (Yang himself has one parent from Taiwan and one from China.) He said that’s a possibility. He noted that he’s married to a Korean, and that though they’re both “Asian Americans,” identities are of course much more complex.

Gene Yang and Kyoshi Warriors

 After the panel, Gene Yang poses with the Kyoshi Warriors.

Books (and one DVD)

Comic-Con: books

Books arrayed on floor of hotel room.

Now to carry them all home, because it wouldn’t be a proper Comic-Con if you didn’t damage your back, now would it?

Note: The Owly ones are for my niece Emily (I already have copies, albeit not autographed ones!)

My Favorite Tweet from Comic-Con 2013

The Future Belongs to Crowds

“The future belongs to crowds”

— Don DeLillo, Mao II (1991)

I have never seen any conference as massive as this one. I have never seen a book/media exhibit as vast as this one. And the crowds! As far as I can tell, about 130,000 people attended this year’s Comic-Con.

After being at the Con for a few days, you grow accustomed to seeing people in costume. Last night on the way to dinner (blocks away from the Con), I saw Spider-Man crossing the street. No one even blinked.

I learned a great deal from the panels, all of which were really interesting. Not a dud in the bunch. I’ve also learned to avoid the big media events. Unless I get a press pass that lets me jump the line (I assume a press pass would let one do this?), I will in future be sticking to sessions about comics/graphic novels. No point in standing around for hours to see movie stars — those events are covered by the press. You can read about them on-line, afterwards.

I’m not sure when I’ll return, but — to quote Gonzo, at the end of The Muppet Movie — “I’m going to go back there someday.” Heck, if there’s time, I may even dress up like Mr. O’Malley (Barnaby’s fairy godfather). Who wants to dress up as Barnaby & come with me?

Crockett Johnson, Barnaby (15 June 1943)

 

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Comic-Con, San Diego, Friday, July 19

And now, a few notes from day 3 of Comic-Con 2013.

A Simple Repast, Coming This Fall

Jerry Griswold invited me for breakfast at the Broken Yolk, which (we discovered) had been leased by the TruTV television show (Impractical) Jokers. As we sat at the table, we noticed that a laminated advertisement fully covered the table’s surface. Then, a smiling young woman employed by the network stopped by to hand out an advertisement disguised as comic book. She also invited us to flick a spinner on a plastic wheel, to win a prize. I did and won a sturdy keychain bearing the name of the network. So did Jerry. For those who are interested, the television program seems to involve four white men getting into mischief. Alleged hilarity ensues.

Brought to You By

advertisement on side of building, San Diego

Advertising covers every available surface at the Con itself. The sides of buildings, the sides of buses, the sides and backs of bicycle taxis, the sides of people. To be at the Con is to be immersed in glossy appeals from the entertainment industrial complex. Not that anyone expected otherwise.

advertisement on side of bus, San Diego

Juxtaposed Images vs. Juxtaposed Text and Images: Smackdown!

Philip Nel, Scott McCloud, R.C. Harvey

While loitering at the Fantagraphics booth, I met R.C. (Bob) Harvey, whose work I’ve read and admired for years.  Then, Scott McCloud strolled up to chat.  Haven’t seen him in, oh, 5 years at least. Great to see him again. As if on cue, these two theorists of comics — with opposing views on how comics work — began a friendly debate. As my students (and, really, all people who are serious about comics) know, Scott McCloud, following Will Eisner, defines comics as “Juxtaposed pictorial and other images in deliberate sequence.” For Harvey, however, the key juxtaposition is between text and images.

Here is a slightly sketchy, inaccurate recreation of our conversation:

Harvey: Have I convinced you yet that text are part of comics?

McCloud: Isn’t text a kind of image?

Harvey: When a definition gets too broad, it loses meaning.

McCloud [not taking the bait]: That can happen, true.

Me: There should be a panel — at a future SPX? at a future Comic-Con? — with both of you, Mark Newgarden and Paul Karasik — debating how comics work.

McCloud: And Dylan Horrocks. Have you read his “Inventing Comics”?

Me: No. Where would I find it?

McCloud: It appeared in The Comics Journal. I think he also has it on his website. It’s a very eloquent, smart take-down of me and Understanding Comics.

Me: Thanks.  I’ll check it out.

Gauld = Wry, Topical Gorey

Scott, Karin and I walked over to the Drawn & Quarterly booth, to say hello to Tom Gauld.  I wanted to tell him how much I enjoyed his presentation, and buy a few books — his, the new Spiegelman anthology, more Moomin comics….  But back to Gauld. Later in the afternoon, I read You’re All Just Jealous of My Jetpack, and I think many of my fellow English professors (or, simply, anyone who is a great reader) would enjoy these cartoons.  Rendered with Gorey-esque style and humor, they’re more topical and wry than Gorey. Though some have dark undercurrents, Gauld’s comedy creates a brighter mood. I laugh out loud at these more often than I do at Gorey’s work. The comic below is actually one of the less topical collected in the book, but it’s definitely a keeper.

Tom Gauld

Here Comes Snoopy

I also got to meet Snoopy. (That’s him, on the right.)

Snoopy and fan

My first choice would have been a photo with Charlie Brown, but I understand that he is currently in traction, following an unfortunate, annual kicked-and-missed-football accident.

Drawing Stories: What’s New in YA Graphic Novels

Panel featuring: Vera Brosgol (Anya’s Ghost), Gris Grimly (Frankenstein), Faith Erin Hicks (Nothing Can Possibly Go Wrong), Hope Larson (Who Is AC?, Madeline L’Engle’s A Wrinkle in Time), Paul Pope (Battling Boy)

Moderator Scott Robins asked: What did you read as a teen-ager?

Rumiko Takahashi’s Ranma 1/2Vera Brosgol read Sailor Moon and Pokemon. She got really into manga.  Sheoved Rumiko Takahashi’s Ranma 1/2 and Hiroaki Samura’s Blade of the Immortal.

Gris Grimly responded, “I wasn’t allowed to read comics, but as a kid I would read New Mutants and hide it.  I’d stick it in my backpack between schoolbooks and stuff.  I was really into horror even though I wasn’t allowed to read horror.”  He also admitted that his books are really more children’s books than comics, but that he had always really wanted to draw comics.  As a result, he said, “My books stand out in the children’s book sections because they look like comics.”

Faith Erin Hicks answered, “I am Canadian, and as all good Canadian children do, I grew up reading Tintin and Asterix…. But when I hit my teenage years, I didn’t really have access to comics.  There was one comic book store, but it was terrifying…. I had no access to comic books that were appropriate for a 15-year-old to read.”  She added, “I started making comics because I wanted to make the sort of comics that I wanted to read.”  Getting back to the question, she admitted, “As a teen-ager, I mostly read prose.” She mostly read science fiction.

Paul Pope said, “I read what ever I could find, but the stuff that I lvoed was Dune. I read Heavy Metal magazine.  I loved Carl Barks.  I read Moby-Dick.” These comments made me see immediately why he and Jeff Smith — who recommended Pope’s work yesterday — would be friends.

Hope Larson told us, “I was kind of an anime and manga nerd in high school.  So, Ranma 1/2. And then I got into indie comics — Dan Clowes, that sort of thing.”

Scott Robins asked: How many of you on the panel are readers of YA fiction?  If so, does that play a role in your work?

Rainbow Rowell's Eleanor & ParkFaith Erin Hicks responded immediately: “I’m a big reader of YA. I read one on the plane.” That book was Rainbow Rowell’s Eleanor & Park. She wants to see more YA comics. She would like to see books like Alexie’s Absolutely True Diary of a Part-Time Indian in comics.

Others admitted that they don’t read much YA. Hope Larson responded, “Lately, I don’t have as much time to read. I read YA, but I read my friends’ books.”  Paul Pope said that “Once you start working, you go … down into a trench. All I look at right now is Moebius and Kirby.  I feel like you can do two things. You can either read everything or nothing.  I’m reading nothing.”  Gris Grimly admitted that most of his influences come from children’s literature of over 100 years ago — Alice’s Adventures in Wonderland and The Wonderful Wizard of Oz.

In a discussion of why teens read, Paul Pope said that when you’re a teenager, “You read to enhance your experience.” Teen-agers, he said, are trying to understand their experience, see possible futures. I thought that an insightful comment.

In a discussion of the future of the YA graphic novel, Paul Pope had an explanation for why there are currently so few: “You have to have two disciplines down, a writer and an artist, to do YA graphic novels. And that’s 20 years to become each.”  Though (as she admitted) the author of an adaptation herself, Hope Larson said, “What I would hope about YA comics is that I’d like to see more original fiction and less adaptations.”

In response to an audience member’s question on making comics more female-friendly, Faith Erin Hicks said, “Not all girls need to have large bosoms” — which inspired much applause from the audience. Paul Pope agreed: “Comics have been dominated by the male gaze.”

One interesting question that no one really had an answer for is what makes a YA comic book a YA comic book. Gris Grimly wasn’t sure. Faith Erin Hicks said “Because they’re about teenagers.” But, as Ben Towle pointed out in a question, teen-agers often read books about adults. So, not an easy question to answer.

In response to why adolescents read what they do, Paul Pope said: “They trust stories to tell them the truth.  You cannot lie to children in books.”

Humor in Graphic Novels

Left to right: Andrew Farago, Jeffrey Brown, Tom Gauld, Lisa Hanawalt, Ellen Forney

On this panel, Andrew Farago, Jeffrey Brown, Tom Gauld, Lisa Hanawalt, Ellen Forney discussed — you guessed it — humor in graphic novels.

They began by discussing how they got into writing humorous comics.

Jeffrey Brown noted that humor “lets you deal with sometimes serious subjects, but there’s this distance that the humor gives you that grants you a different perspective”

Tom Gauld: “I wanted to be a deep dark soul who was tormented, but I just wasn’t. … And I’ve found that through that humor, you can still have a depth….”

Lisa Hanawalt: “It was a way of interacting with other people if I was shy”

Ellen Forney, MarblesEllen Forney: “I think having a sense of humor is a great way of coping with life.”

Lisa Hanawalt: “Sometimes the funniest things are the saddest things.”

Tom Gauld: “A lot of humor comes from things failing…. For something to be funny, you need that balance — funny and sadness, and awkwardness.”

Next, Andrew Farago (our moderator) switched to background in cartooning, asking “What led you here today?”

Jeffrey Brown: “About 15 years ago, I started writing autobiographical comics. And I focused on the most awkward things. I was trying to show how stupid I was.”

Tom Gauld: “The thing I do — the weekly thing for the Guardian — and so every week, I think that the joke is like a little machine that I’d like to make work. And it’s not really about anything else other than itself.  Whereas in a longer work, the joke is in service to the story. The joke comes out of the situation. It can’t be funny all the time.”

Tom Gauld, The Poetry Gene

Lisa Hanawalt: “Comics are the most efficient way for me to take whatever I’ve been experiencing in my life”

Ellen Forney: “Telling — especially retelling — something that was intense or awkward is a way of owning it, controlling it.”

Andrew Farago observed, “Every time I’ve done a panel with humor as a topic, it’s always become about misery”

Tom Gauld added that there’s the idea that “‘Happiness writes white’ because when it’s happy there’s nothing to say”

Tom Gauld noted that people think that writing cartoons must be fun. He acknowledged that, when you get the idea, it’s great. “On either side of that moment, I get a kind of brain smile. But the rest of the time, it’s just a man sitting alone in a room.”

Asked where they draw inspiration from, the cartoonists answered….

Tom Gauld: “My work’s abstracted from the world. It’s not really autobiographical.”

Lisa Hanawalt: “I take a lot of notes”

Ellen Forney: “just observations from the day”

Next question: Are long-form versus short-form radically different processes for you?

“A really short comic can be a bit like writing a haiku, because everything really matters” replies Tom Gauld, who admits he “likes the constraints.” Gauld also explained how he helps people get the joke. He’s always thinking, he says, “Someone who hasn’t been on this thinking journey that I’ve been on, how can I leave little markers for them that will lead them to this hilarious conclusion?”

A Tribute to Kim Thompson of Fanagraphics Books

Eric Reynolds, Gary Groth, Diana Schutz, Gilbert Hernandez, and Jaime Hernandez Fantagraphics publishers (and partners of the late Kim Thompson) Eric Reynolds and Gary Groth joined Diana Schutz (of Dark Horse), and Gilbert Hernandez and Jaime Hernandez (whose Love & Rockets is published by Fantagraphics) to remember Kim Thompson.

As Gary Groth noted at the start of the panel, to learn more about Kim, everyone should take a look at the triubutes to Kim on the Fantagraphics website (I think he means The Comics Journal website, because that’s where I found them).

Recalling being hired (at Fantagraphics) by Kim, Diana Schutz noted that there were a lot of other women who Kim had reached out to. “Back in the ’80s, there were not a lot of other women who were interested in comics. In a lot of ways, we were ignored. So, it was a great honor to be asked to contribute.”

Kim Thompson & EisnersJaime Hernandez saw Kim as something of an enigma. Imagining saying hello to Kim, he said, “Sometimes it was just “Hey, Kim,” and then Kim’s reply would be “Hey.” And that would be the end of the reaction. Then, Jaime said, “In the Comics Journal, there’d be this review attacking Frank Miller, and I’d wonder: is that the same Kim?”  Recalling that article, (Kim Thompson’s review of Frank Miller’s Ronan), Gary Groth said that when he and Kim Thompson were out with Harlan Ellison, Ellison took exception to Kim’s review.  Gary argued back, vigorously defending Kim’s review.  Kim, however, said nothing.  He preferred to argue on the page.

“He was part French bohemian, part comic book nerd, part American punk”

—Eric Reynolds

When he wanted something, Kim would be more outgoing. Affecting Yogi Bear’s voice, Gilbert Hernandez demonstrated: “Heyy, Diana! I’m coming to California!” He explained that Kim “had a way of trying to talk like Yogi Bear when he was trying to get something.”

I found especially interesting the list of novelists Kim Thompson liked (according to Gary and Eric):

  • Cormac McCarthy
  • Douglas Adams
  • P.G. Wodehouse
  • Terry Pratchett

“Fantagraphics publishes the best comics that are currently available, but Kim’s tastes were wider.”

— Diana Schutz

Eisners: It’s an Honor Just to Be Nominated

Susan Kirtley, Lynda Barry: Childhood Through the Looking-GlassCongratulations to Susan Kirtley on winning the Eisner for best Educational/Academic Work, for her Lynda Barry: Girlhood Through the Looking Glass — and for being the sole Eisner winner seated at our table.  She was so very happy.  Very cool.

For the record, since half of my book was devoted to a non-cartoonist (Ruth Krauss), I thought it an odd fit with the rest of the nominees — and the least likely to win. That said, I am an optimist and so was nervous… just in case. The moment Susan won, I relaxed. Whew! I didn’t have to get on stage and speechify. But, just in case, I had mentally prepared a few words. Here’s what I would have said:

When I began this project, back in the waning days of President Clinton’s second term, I never thought it would be nominated for such an award — much less be in the august company of my fellow nominees. There are many people to thank, but I’ll restrict myself to four. Thanks to Chris Ware for creating the best cover any of my books has ever had or will have. Thanks to Crockett Johnson and Ruth Krauss, who — though I never met them — became two of my closest friends. Finally, thanks to Karin Westman, who for a dozen years shared her spouse with this book.

Since I couldn’t say that there, I’m saying it here.

The big winner of the night was (no surprise!) Chris Ware, who — if my count is correct — won 5 of the 6 Awards for which he was nominated. Chip Kidd (Ware’s friend and editor) accepted them on his behalf, and performed his role with élan (and a bit of camp).

Oh, and there were a fair few celebrity award presenters: Edward James Olmos, Sergio Aragones, Neil Gaiman, James Marsters. (It is possible that Sergio Aragones is not a celebrity beyond the comics world, but any reader of MAD magazine would know who he is!)

Sergio Aragones at the Eisners, 2013

And as part of a bit Neil Gaiman and Jonathan Ross were doing, Chip Kidd kissed Neil Gaiman. On the mouth.

Kidd and Gaiman, snogging

And… that about wrapped things up for this year’s Eisner Awards.

I’ve never been nominated for such an award before, and am unlikely to be nominated again. I think I have a better understanding of those televised awards ceremonies now. The anticipation (and nerves) until your category’s done. And then, following the deflation, an ability to focus more broadly on what’s going on in the room, even as — lacking the former anxiety — fatigue begins to set in. The Eisners ran for oh, over 3 hours. I don’t remember exactly how long. But this is why other awards shows play the “please get off the stage” music (the Eisners do not). Important to keep the show moving.

We didn’t linger afterward. Ben Towle and I congratulated each other on losing an Eisner Award, and then ’twas time for a pleasant walk back to the hotel to write this up.

Coming Saturday morning at 9 am, another signing at Fantagraphics (booth 1718). Barnaby Volume One! The Johnson-Krauss bio.! The Chris Ware poster for the bio!  If you’re at Comic-Con, stop by!

Chris Ware's cover for Crockett Johnson and Ruth Krauss: How an Unlikely Couple Found Love, Dodged the FBI, and Transformed Children's Literature

 

The rest of my 2013 Comic-Con coverage:

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