1. boiledleather:

    I’m posting the link to Janelle Asselin’s survey regarding sexual harassment in comics once again, because I think it’s very important that people involved in alternative/art comics are represented. We read different comics, go to different cons, shop at different stores, work with different publishers, move in different social circles, and those realities should be reflected. Please take the two minutes it takes to fill this out.

     

  2. thetrueblack:

    Please take a moment to fill out Janelle Asselin’s survey about sexual harassment in comics. It’s simple and anonymous.

     
  3. arecomicsevengood:

     Sometimes I feel like the only reason you are being given to care about the characters in these comics is because other characters do, and the whole thing can feel like being at a party where you are witnessing conversations between people you don’t know as they talk about other people you don’t know, feeling stuck while you wait for a friend to arrive.

    Back before I had my Damascene conversion about Jaime’s work, I wrote a scathing review of Locas for The Comics Journal. (Laugh in the face of anyone who ever tells you that publication, online or in print, is a Fantagraphics mouthpiece.) I wrote something very similar, the sense that if you don’t cotton to Maggie and Hopey immediately, there’s something about not just the reception of the work by its fans but about the work itself that feels exclusionary. Really interesting phenomenon, and ultimately I would guess it’s a testament to Jaime’s ability to capture the way scenes and cliques form, and feel.

    The title pages are indeed tremendous, too, yeah.

     

  4. "MoCCA was fun, but i’m totally exhausted now. A two-day show’s a grind when you’re not five minutes from your hotel room at all times. The impression I got is that civilians were buying — most of the exhibitors i talked to seemed happy, though not ecstatic — because it was sort of a spring-awakening show, but people within the field who’ve spent the long winter months following each other’s projects had less they were looking forward to seeing since they’d seen most of it. Not a lot of debuts, best I could tell — people probably saving those for Linework and TCAF and CAKE, or maybe just avoiding going too hard here because this was still very much a dip-your-toe-in-the-water iteration of this show for a lot of people. Very well organized, almost prohibitively so. There was one time that there were so many volunteers and paid security people in the front doors that I had a hard time fitting through. People have definitely noticed the influx of more standalone images, perhaps a Society innovation; maybe that’s the show’s identity from now on, though comicswise it’s the SPX model of “part altcomix, part webcomics-as-genre, part indy-with-a-y genre-comic strivers.” Honestly if its only real reason for being is “New York can support another alt-ish comics show six months apart from the Brooklyn show,” that’s fine."
     
  5. no-trivia:

    Final time I’ll bug you about these! This time with a dumb selfie! My recent zine contributions:

    Comics Workbook Magazine #3: I wrote an essay on Marissa Paternoster of Screaming Females’ comix and drawings. Also features, a cover by Dash Shaw, Nancy ruminating from Dorothy Berry, an essay on sexual assault in comics by Laura Knetzger, an interview with Annie Mok, and more.

    True Laurels #3: I wrote reviews of ISSUE’s Liquid Wisdom and Ricky Eat Acid’s Three Love Songs. Also features an essay on rap videos by David Turner, an essay on Dolemite by Kasai Rex, an interview with Lil Bibby, SXSW photos by editor Lawrence Burney, diary entries by Schwarz, Chiffon, Neuport, art by Mike Hinson, and more.

    I’d just like to take this opportunity to point out that in addition to all the other listed worthies, Dorothy Berry on Nancy is one of comics criticism’s great pleasures of the decade so far. Grab it if you get the chance.

     

  6. "What’s wrong [with the comics industry]? … In the late ’70s, all the comic fans decided to get into the business. The problem is, it was a bunch of superhero fans. And an industry that had, up until that point, catered to almost every genre imaginable slowly and slowly was narrowed down and boiled down to a point where it was superhero comics, and that’s all there were. And then they all were writing these comics for each other — not for a mass market, not for young people. And then, as they aged, the content aged to suit their needs. And the idea is, when you’re an adult, you’re supposed to turn to other forms of entertainment, maybe, or appreciate comics for what they were. But that hasn’t been the case. So now we have superheroes that rape, we have heroin addicts, we have all this kind of bullshit that’s been heaped onto these characters that were meant to entertain kids and give them a little sense of right and wrong and adventure. I think it’s so sad. And you see what the strategy has done. … In 1972, Jimmy Olsen comics sold 200,000 copies a month, and it was canceled because that wasn’t enough to keep it going. These days, the best-selling book can barely scrape past 70,000 — never mind the worst-selling books. So let’s take a look at that strategy that’s been applied to this business. How’d it work out? Not too good. And the less people that read ‘em, the more expensive they have to be, and the more cryptic they have to be to cater to that tiny little market they’ve got. That’s what’s wrong."
    — 

    Darwyn Cooke (via comicquotations)

    Epic rant.

    (via superdames)

    Darwyn’s right, but there’s also a bigger picture of newsstands going away. Still, not going to argue that handing the industry to (primarily) superhero fans for a generation wasn’t a good long-term move here.

    (via highway62)

    Also a problem: kicking creators’ rights square in the mouth by scabbing on Before Watchmen

    (via highway62)

     
  7. youthindecline:

    REALLY, REALLY SHAMEFUL STUFF by animators Alexis Beaumont & Remi Godin.

    From talking to Jonny it seems VERY clear that they knowingly and purposely mimicked his style, were afraid to get in touch because they knew they were doing something wrong, but professed to be fans and called it a “tribute” after they got called out on it.

    In their own words, “We’re fucking stupid.”

    Time for them to take the video down, compensate our friend, and apologize their asses off.

    jonnynegron:

    I feel ambivalent 

    Here’s an animated music video, which is a tribute to my work. I was not involved in the creative process.  

    I  received a message from one of the videos’ creators telling me he wanted me to be the ‘first to know’ which is strange considering I also received messages from people who said my name was not credited this morning. 

    the creators claim that the video is a tribute to me, and I will say I think they did a decent job adapting my style, which I admit is quite flattering to see. Viewing the video made me feel like I drew it myself.  I’m starting to feel like Dan Clowes…

    What do you think? (please be respectful)

     
     

  8. comicsdemocracy:

    Pursuant to recent discussions about the interplay between comics, Tumblr, and traditional “gatekeeper” functions in comics publishing, I’ve started a tumblr called comicsdemocracy that will reblog comics with 10K+ tumblr notes without comment. I’m just going to reblog stuff as I see it and…

     

  9. Training Habits of the Furry Trap

    jhscomics:

    Some words being slathered around the internet about my recent Oily- and Fantagraphics-published comics, making some best of the year lists, well well what are they saying:

    […]

    "Josh Simmons is a tonally similar artist [as Heather Benjamin], but at this point he’s been making comics long enough that the evident darkness of his outlook abrogates the need for the taboo-fucking gore for which he became known. "Seaside Home," the lead-off story in this one-man anthology Habit #1, is Simmons’s most nihilistic and melancholy work to date, which is saying quite a bit. Combining several of his strengths—depicting the interior and exterior of large buildings, locating horror in failed families, burying pages in debris—it tells the story of a little girl whose parents are too consumed with their own slow-motion tragedy to see that she’s slowly sinking into one as well. That the final, physical violation of this family unit and the home they inhabit is still so obviously upsetting to her—that after all this, she still has a child’s shocked disbelief that terrible things really can happen to her and the people who’ve taught her whatever she knows about love—is so fucking devastating I can hardly stand to think about it, though that doesn’t stop me. Compulsively re-reading this thing is a form of self-injury, which is about as high a compliment as I can pay."

    -Sean T. Collins

     

  10. thetrueblack:

    The great Joe “Jog the Blog” McCulloch and I talk about the state of the alternative/art comics industry, as opposed to the alternative/art comics art form, with The Comics Reporter’s Tom Spurgeon.