Austrian cartoonist Nicolas Mahler, joined me for a transatlantic phone call about his comics, including the newest from Fantagraphics, Angelman. We also had an interesting discussion about the current state of the mainstreaming of “graphic novels”, comparing between North America and Europe.
Ninja Turtles co-creator and Heavy Metal bigwig joined me to discuss a range of different comics topics. He has recently returned to drawing the green guys that made him famous and is celebrating the 35th anniversary of Heavy Metal publishing in the North American market. I was a huge Ninja Turtle fan as a kid and lately, I have been reading a lot of Heavy Metal editions of translated European work. I thank anyone that is able to publish Druillet in the North American market!
Ryan Sands is one of the most progressive indy comics publisher’s going right now. In his anthology, the Thickness, co-edited with Michael Deforge, they have brought together some of the most vital cartoonists and some of their most personal and forward thinking work, all in the pages of a porn comic. The 3rd issue will be debuting this week, and will be well worth checking out.
I am always happy to talk comics with Ryan and appreciative of him to take the time to chat with me during his busy printing schedule.
Baby’s In Black creator, Arne Bellstorf joined me to discuss his latest and longest work, looking at the relationship between Astrid Kirchherr and Stuart Sutcliffe. It is really beautifully put together book.
It’s time for another roundtable, and that means 2 hours of studs. I was joined by a heavy weight crew of comics critics. To be honest, that there were points in this conversation where I lost track of where I was, because I was so into the others and what they had to say.
This time I was joined by Tom Spurgeon, Paul Gravett and the always scrappy, Joe McCulloch.
Each guest chooses 2 titles and we all read them and discuss the work together.
Shark King – R Kikuo Johnson
Are You My Mother – Alison Bechdel
My Friend Dahmer – Derf
Cruisin’ With the Hound – Spain Rodriguez
Monsieur Lambert РJean Jacques Semp̩
Nelson Anthology – ed. Rob Davis and Woodrow Phoenix
Toronto illustrator and cartoonists, Maurice Vellekoop joined me to talk about his new book from Koyama Press, Gloria Badcock. It’s a filthy good time to be had. Maurice’s work is very lush and beautiful.
I moderated a panel at the inaugural Vancouver Fan Expo. It was hilariously called the Rock Star Comic Creator Super Panel, which I am still struggling to find out what that means. It basically featured a bunch of headliner guests talking about comics. It sounds very much like other panels I have done, except for the name. The guests were Greg Rucka, Kathryn and Stuart Immonen, Yanick Paquette and last but not least, Len Wein.
You can listen to it below this post. Leading up to the panel, I had some pretty mixed feelings about it. My problem was to do with how to discuss Before Watchmen, if Len Wein brought it up. I have a lot of strong feelings about this project and personal connection to the original work by Moore and Gibbons. When Wein did bring up Before Watchmen, I left it alone. It wasn’t the venue to confront the issue. But I do feel the need to explain my feelings here. I have been doing a lot of pretty vocal complaining on Twitter, but leave my really strong opinions off of the general Inkstuds blog. I cover the work on here that I cover, because it is work that I am excited about and hope that you the listeners get excited about them too.
When I started reading comics, I mean really reading comics, Watchmen was one of those books that blew me away. That, along with Maus, Dark Knight Returns, Velvet Glove Cast in Iron, Hate collections and some other oddities that I found in the Burnaby public Library formed my comics mind. I started working in a comic store, it was in the days, when the only TPB’s we had, were some Cerebus books, Sandman, a smattering of batman works, and of course Watchmen.
Moore and Gibbon’s Watchmen was a different beast on the bookshelf. What Alan brought to the comics reading public, was a level of sophistication that could not be matched. No one was writing mainstream comics the way he was. Go read Anatomy Lesson in issue 21 of Swamp Thing and tell me that a random issue of Green Lantern/ Green Arrow was working on that level.
One of great things about Watchmen is that it is a next level comic. He creates as synthesis of these different comic tropes and ideas and fuses them together in one self contained work. Watchmen is a singular work with a beginning, middle and ending. Any Before Watchmen work, is bullshit. This work sullies what Moore had done, taken this complete world of idea’s and picking them apart like crown jewels, selling them off bit by bit, leave husk behind. Just because the material is owned by DC Comics, does not make this ok. It is the equivalent of Dan Didio doing the sequel to Charles Burns’ classic Black Hole. What this publisher is doing, is stepping back from this notion that comics can be art and fine literature. How many other DC Comics are being taught in upper level university courses. I remember seeing this one class on modern literature walk out with a different book each week. Ranging Ulysses by James Joyce, to Naked Lunch by William S Burroughs and to my joy, Watchmen. They will not be reading Before Watchmen in that class. They will not be reading Final Crisis in that class. They will not be reading Justice League by Lee and Johns in that class. Why, because that work is not that the level that Watchmen is.
Any work that takes from Watchmen, desecrates it. Unfortunately Before Watchmen, will have an effect on Watchmen. This work will be connected, and it makes me sad.
My problem is not with the creators, because as we know, this economy sucks, and it is hard to turn down something when they are offering to empty out a dump truck full of money on your lawn. Recently Paul Pope posted on twitter about how he was doing a cover for Before Watchmen. He stated that he was giving his payment for the cover to the Hero Initiative. I got into a discussion with Brandon Graham about it. On one part, I was happy to see him donate money, but his name holds a lot weight. Pope is a guy that was self-publishing back in the day, and it has stood the test of time. We couldn’t come to an easy agreement to how we feel about it. Both of us had strong opinions on it, both admiring Pope’s work, but having a hard time with the idea in general. It is not a simple split down the middle, right or wrong.
In the end, I hope that you will ignore the work, don’t give it the time of day. There is an endless supply of fantastic comics that you can read that won’t make you feel dirty. At the end of the panel, after hearing Wein talk about his work on Before Watchmen, I could see the difference between the way he looked at comics and the way Moore looked at comics. If you listen to the panel, you will hear others talk about their experiences working with writers and you can really hear the vision in the craft of certain writers. Just the passion that Rucka brings forward is amazing, he lives his work, and feels his work. There is no passion in Before Watchmen, just money. Great for the short term for those involved, but could have a long term effect on how to understand the value of comics as a literary movement. People talk about a division between indy sensibilities and mainstream, and this defines it. You don’t see Drawn and Quarterly getting Chester Brown to do a whole series of work based on great Canadian historical figures, because he has done that work and since moved on.
I could keep going on, but I realize this probably hasn’t made any sense, but that’s ok. I have some comics I need to get back to reading anyways. Did you know that Pat McEown has new book out? It’s great.
Sammy the Mouse cartoonist/publisher/printer, Zak Sally joined me for a comics talk that goes into some interesting directions. We cover his latest book, as well as variety of funny book topics.
Jesse McManus is doing some fantastic work that is exciting, dynamic and full of so much energy. His latest work is the Spider Monkey collaboration with Austin English and Violence Valley from Floating World Comics.
