We have never missed a MoCCA Fest. Ever. When we were fans and Secret Acres was not even a glimmer in our little eyes, we were there. When we were comics pros with a little something on the side with the Highwater Books gang, we were there. When we were stalking the artists who would make Secret Acres, we were there. We have never missed a MoCCA as Secret Acres and we have always had a debut, sometimes two, at MoCCA every year of our existence and we likely always will. Partly this is because we’re not stupid enough to leave money on the table, and largely this is because MoCCA is New York City’s premier art comics festival and we take pride in that, damn it. Please keep all this mind if you plan on reading any further.
For the last few years, the exhibitors and the audience have grown more and more uncomfortable with the MoCCA Festival. This isn’t up for debate. Since the move from the beloved Puck Building, things have changed and not for the better. There is no way to please all of the people all of the time, but never has the time come when anyone was heard to say they were thankful that MoCCA had moved to the Armory.
Everyone was thankful when MoCCA moved to April and away from New York’s more stifling and muggy warmer months. Beyond that obvious improvement, it would appear no one is listening, so let’s repeat ourselves. Here’s what we suggested a couple years back: Lower the table fees. Let people in free. Have a sliding scale for exhibitors. Consider a curated festival. Turn it into an arts festival proper.
That post was re-blogged and retweeted more than anything else we have written on here. Other ideas were thrown into the mix along the way, like giving every exhibitor a year’s membership to the museum to remind folks it exists. We’d thought with attendance visibly down last year, that maybe the museum and the festival organizers might start paying attention. This year’s response? Silence and higher admissions prices for members and non-members alike, to the tune of $15. Per day.
Once upon a time, people would talk about who was at MoCCA. Now we talk about who isn’t there. We, meaning tiny, little Secret Acres got some odd, competitive jabs from some of the big boys who sit at the front of the Armory, apologizing for what they saw as poaching our gang while proudly admitting that their rather large staff doesn’t edit the books they publish. Hey, with the sheer volume of what they produce, we’d be surprised if anyone up there even remembers what they publish. But why us? Maybe it was because there was no Koyama Press, no Sparkplug, no Adhouse, no Picturebox and they had to pick on somebody.
Thinking about Picturebox being absent from MoCCA was interesting in itself. We wondered why, exactly, the biggest art comics publisher in the city wouldn’t show up for MoCCA. Was it because of the dustup after the museum didn’t credit creators at its Archie exhibit? Was it because the Picturebox co-production, the Brooklyn Comic and Graphics Festival, does just about everything right and has slurped up what used to be the lifeblood of the MoCCA Fest? Was Dan Nadel, the Picturebox captain, fed up with the name calling and bullshit from folks angry over MoCCA being criticized by the Comics Journal, which he edits? Any of those would be reason enough.
Maybe Picturebox doesn’t want to play to an empty house. Attendance was down last year. One might argue that is was flat, but it was down. This year, attendance was down by at least a third, and that’s a conservative estimate. If we were told attendance was down by 1,000 people, that would be suspicious. The story that attendance was up by 1,000 people is laughable. No one who was there could believe that. Which is more depressing, that attendance is dropping like a stone or that this fact can’t even be acknowledged by the festival’s organizers?
The real problem is the disconnect between the museum and the festival. This was never more evident than in the absurd, defensive comments following that TCJ article on the museum. Some anonymous but ardent supporter of the museum took it upon himself to lay the responsibility at the feet of us “indies,” claiming that we complain about the festival and the museum, but don’t support it. By the museum’s own admission, the festival is the sole fundraiser that keeps the struggling Museum of Comics and Cartoon Art alive. Guess who all of the exhibitors are? They’re us indies. That includes the bigger houses at the front of the room, too. The publishers at the front of the Diamond Previews catalog aren’t showing up at all, but the museum’s programming caters mostly to their fans. We like Archie, too, but that’s not going to get the folks on the floor of the MoCCA fest to feel any kind of ownership of the museum, which should be supporting them as much as the festival exhibitors support the museum.
The irony here is that we had a blast at MoCCA. The volunteers were their usual wonderful selves, and even included our pals from [insertgeekhere] who wound up interviewing our own Sean Ford about Only Skin on Sunday. Saturday started off so dead that we had plenty of time to meet and greet the cartoonists behind the tables, pick up new books to carry in our distro (coming soon) from Anuj Shrestha and Sean K, and we even discovered a brand new and very promising indie publisher in Hic and Hoc. Our sales did not stink and it was not our Worst MoCCA Ever, though it was our first step back at MoCCA.
Our big debut, Only Skin, got off to a nice start. We had Eamon Espey with us and we talked about his new book (coming later this year). We got to hang out with Charles Forsman (the guy behind the best ongoing series out there, The End of the Fucking World) and Melissa Mendes (she of Freddy Stories fame) all day and night. We got to eat dinner with the Dongery guys (an easy pick for Stars of the Show). We have one hell of a haul from MoCCA, thanks to folks like Domino Books, Closed Caption Comics and the Secret Prison/Suspect Device/Retrofit unholy trinity.
To quote Matt Thurber, who wasn’t at the nonexistent Picturebox tables, “It’s a room full of people I love, so I’m going to be there.” We agree and we will be back at MoCCA. They may not let us back in after reading this, but that would assume that they’re reading anything on this site. We hope they are, because the problems with the museum and festival are real and need fixing before there’s no MoCCA to come back to.
The real good time for us was at Bergen Street Comics, which is kind of our home away from home these days. We have to admit that we were worried about folks showing up on MoCCA’s Saturday night, but those thoughts went right out the window from the get. The Only Skin release party was practically an all-nighter. We wound up having to say good night to Darryl Ayo twice, who left us once to go to another party, but stopped in again since were still rockin’. Bergen Street are the people who aren’t carrying the Before Watchmen comics – and good for them. Tucker Stone is the guy who made it fun for us to have a pull list again. They totally made our weekend. We can’t thank them enough and many, many thanks to all the folks who came by to pick up Only Skin and get their ghost balloons.
Next up for us is TCAF, the Toronto Comic Arts Festival. Everyone loves this show. It’s pretty much perfect. You may have heard that we’ve got another new comic to drop at TCAF called Wayward Girls. The smart move would be to keep quiet about it until we get across the border. This is convenient because it’s a little hard to describe. It is the English language print edition of the Dutch webcomic, Slechte Meisjes by Michiel Budel. It’s beautiful, it’s a little nasty and it’s a lot of fun. We keep using the phrase “barely legal” when we talk about it, which we will stop doing after we tell you that you can get some at TCAF this weekend and pre-order some from the Emporium right now.
Michiel is in Holland, but Joseph Lambert, Mike Dawson and Sean Ford will be at the Secret Acres table with their books. Neither Sean’s Only Skin nor Mike’s Troop 142 have made it across the border before, and Joe probably doesn’t remember much from last year’s TCAF, so this ought to be interesting.
On a more pressing note, Secret Acres will be representing the United States of America on a TCAF panel on comics of the Commonwealth of Nations (that would include Canada, England and Australia, apparently, which we didn’t know because we’re Americans). If you are a real American cartoonist, send us pictures of yourselves and your work. The Aussies have gone and escalated things a bit by bringing their own slideshow. It’s strange that we are debuting our first international comic and doing it Canada, but USA gotta represent. We need you!
See you on the other side if we don’t get jailed by mounties on the way.
Barry and Leon
@seanonlyskin But DUDE, it's CREATOR OWNED Thor with a PENIS, BRO!
- Wednesday Jul 23 - 10:22pm
@ryancecil PHEW. We're 2 old 2 code over here.
- Wednesday Jul 23 - 5:48pm
The thing about Mike Dawson's newest graphic novel, Angie Bongiolatti, is that it's daunting at first glance but kind of impossible not to identify with its characters. Well, you could somehow not identify with them, and that's your right, but you'd probably be completely insane. Rob Kirby, writing for the Comics Journal, writes about Angie Biongiolatti so well, that he might just be the ideal reader for this one. He's sensitive, empathetic, politically conscious and he likes to party. He also nails Angie, the character, who can come across as enigmatic or aloof, but it's her faith and her clarity, as Rob puts it (and we're paraphrasing), that make her the best barometer ever for the most difficult of times and the craziest of people. The key, though, is Rob writing that he knows these folks and he's partied with them. It would have been a lot easier for Mike if he'd had an agenda when he drew these people. Yeah, we might have recognized the ideas, but maybe we wouldn't have recognized these people. Poor Rob! He's one of THEM! Thanks, TCJ, and Rob, especially. This was a really good one.
Well, folks, Edie Fake has arrived! This newest LA native gets a very warm welcome indeed from Joshua Michael Demaree at the LA Review of Books. It's both a full-blown interview, a complete history and in depth review of Memory Palaces, Edie's latest and our first ever art book. If you're worried about Edie going Hollywod, go ahead and worry since Demaree has christened him a "flourishing celebrity." At least, he's a flourishing celebrity in the queer art world. There's some stuff in here that rarely gets discussed, including Edie's background as a video artist and the influence of that medium on his comics work. We even get a mention in the story of how we met Edie, which almost didn't happen. Plus, and this was news to us as well, Edie's return to Chicago (after "going feral") coincided with the death of Michael Jackson. But was it a coincidence? Thank you, Joshua, for all your super thoughtful work here (and for making another dream come true and writing up a Secret Acres book for the LA Review of Books). Go and read this very funny and very serious career retrospective right now!
We do realize it's all Corinne Mucha and all Get Over It! all over all the time these days, but we just had to share our joy over this latest rave from Joseph Erbentraut at the Huffington Post! Yes, that Huffington Post. Complete with an actual excerpt, Joseph gives a brief rundown of the rules regarding breakup recovery times, citing scientific studies and How I Met Your Mother, no less. We're not entirely sold on the sciences here, mostly because the science of love seems to make everyone feel bad for being insane. Let's face it, love is not just blind, but very stupid. As for HIMYM, we're playing catch up with that one, but their rule seems to fit pretty well. However, if you want the real, straight up survival guide to heartbreak, look no further than our Ms. Mucha. SHE KNOWS. Thanks, Joseph and HuffPo! Have a look at the link below.
Hooo boy... WELL. Corinne Mucha is not shy with the Philadelphia Inquirer, it seems. Tirdad Derakhshani, talking about Corinne's new book, Get Over It!, asks the ever important question when it comes to autobiocomics: did that REALLY happen? And, to quote Corinne, "I didn't add or make up anything." Really, one would hope that in the making of comics, the finest medium there is, about one's actual life, that the cartoonist behind them would be brutally honest. Get Over It! is surely that. Let's face it, heartbreak is ugly as love is beautiful. And who the hell would be able to identify with a clean breakup? Does that even happen? Our favorite part of this Inquirer inquiry is the origin story that sneaks its way in. No, Corinne wasn't super into Wolverine as a kid. She wanted to be a REAL artist. The comics all started by accident, it seems, in Rome. Like Rome, Italy. Also, speaking of the other half of the (not in) love story of Get Over It! you can get That Guy's reaction to the book here, too. In other words, you pretty much have to read this.
ICYMI, as the kids say, here at last (after some more technical difficulties - and, yes, between this and our Friday night love-in at Bergen Street Comics being rained out, we are having technical difficulties galore) is Tom Spurgeon, aka the Comics Reporter, doing his Sunday Interview thing with Mike Dawson. As we can attest, these interviews are a lot of work, and require a ton of thought, so count yourself lucky that Mike is a thoughtful guy. There's plenty of shoptalk here, lots of stuff on process and the like. Angie Bongiolatti, Mike's latest graphic novel from us, was a long time in coming. There are plenty of ideas in this book, though, in a sense, it's about one thing and a certain time and place and age in post-9/11 New York. There was a lot of experimentation involved in finding a style that would both corral and express the ideas and move the narrative along, too. After all this, there was a lightning quick turnaround, with Mike finishing the book in January and us getting books printed by April. Angie Bongiolatti is catching up with its audience about now. Meanwhile, Mike has been all over the place, on tumblr, on Slate, on TCJ Talkies, and Tom has Mike talking about the future quite a bit, too. If you like Big Questions for cartoonists, this is a good place to be. As for Angie Bongiolatti, well, ask Mike says, " I think people just sort of have to read it." So go read it!