THIS IS FOR YOU, Lisa Hanawalt… Like everyone else on our side of the comics fence, we read Dan Nadel’s blog post on the Comics Journal, “No Good Reason.” The post itself was a harshly critical assessment of Secret Prison 7, a comics anthology and an homage to Garo. The project is being edited by Box Brown, of Retrofit fame, and Ian Harker, who is one half of Secret Prison along with Pat Aulisio. SP7 is being funded via Kickstarter, and you can learn more about it there. There are several gauntlets, and boots, being thrown at issues great and small. A lot of this is a big deal to us and got us thinking about where we would locate ourselves within these arguments. If you haven’t read the post and the SP7 Kickstarter page, go ahead. We’ll wait here.
To begin, we should tell you that we know next to nothing about Garo and that we’re not exactly huge fans of manga. We don’t want to address that part of the critique here because, in all honesty, we’re not qualified to address it. That said, we’ll take Dan’s word for it that while manga has had a tremendous impact on younger, American cartoonists, Garo, specifically, does not have the same influence and in their description of the SP7 project, the publishers blur the line between Garo and manga. Garo certainly does not have the same influence that EC comics had on the Underground artists which followed them, though Dan refutes that influence only to retract it later.
Without adequately demonstrating a historical knowledge of the comics they claim have inspired them, the SP7 publishers have left the door open to charges of trend hopping, bending the comics community’s pre-existing interests to suit their needs. We’re not ready to convict them because they failed to show us that they’ve done their homework. In fact, this would have been easier if the publishers simply stated that they are putting together a Garo themed anthology because they think Garo is awesome, so please give them money because they’re broke. The comics that Secret Prison has produced have been too good to dismiss for their lack of historical context. They are often, however, fan art (see Rub the Blood, another Secret Prison publication which was an homage of sorts to Rob Liefeld). By nature, fan art capitalizes on a pre-existing interest, which makes it difficult to get around the trendiness knock. Fan art can be fun, and even good, but the work can’t stand on its own, to use Dan’s words. He would also use the word sleazy, but that’s too strong for us, like making fun of someone who loves the band Interpol because they have never heard of Joy Division.
Publishing something with a built-in interest, or a viable something as Dan would say, makes the low-risk approach of Kickstarter funding that much more damning. So let’s talk about Kickstarter, hopefully for the last time. We are not threatened by Kickstarter. We are speaking for ourselves only, of course, but the idea that we would somehow be shaking in our boots (not for sale, by the way) because Kickstarter is coming to kill us publishers is absurd. We don’t like its focus on popularity ahead of everything else. We don’t like the way it lets the market decide, appealing to the lowest common denominator and cranking out transmedia-ready crap by the busload. We sure as hell don’t like it as a tool for publishers, and would never ever consider using it ourselves, but we’re not sitting here cursing its name.
The reverse is not true. Going all the way back to MK Reed‘s essay on Kickstarter, someone always feels compelled to make the argument that Kickstarter has created opportunities where there were none, that it has eliminated the need for publishers, who have been acting as gatekeepers for artists everywhere. This is a crock. No one who does what Secret Acres does has ever intended to stand in the way of a cartoonist’s success. We are well aware of the historical and continuing abuses perpetrated on creators by certain large comics companies and maybe that’s what’s stuck in people’s heads. This is akin to conflating superheroes with comics, which is really annoying, isn’t it? Can the argument that publishers are abusive corporations with no respect for creators be applied to Annie Koyama? Get over it. We are nobody’s enemy. We are not tastemakers. We are not gatekeepers. We have no idea what anyone means by “a very personal Batman graphic novel.”
We publish artists, not books. We’re less concerned about products and properties than we are supporting the people who make the comics that we love so much. As publishers, our job is to create opportunities and to find an audience for the artists who put their trust in us. It’s not easy to connect art so idiosyncratic and wonderful to the readers who will make something meaningful of it. It’s the fact that these voices are so idiosyncratic and wonderful that makes it worth the effort.
If Kickstarter can help them, we’re into it. If it gets one of our books into the hands of a reader, we’ll happily sell our books on Amazon, too. Amazon is an inevitability. The internet allows people to skip booksellers and skip paying a bookstore’s overhead, and if Amazon didn’t do it, someone else would. We believe there’s a cultural shift away from reading that is rarely addressed, that is a great part of the decline in a certain kind of bookstore. We suspect that a huge portion of Amazon’s book buyers are the book buying population that will switch to e-readers exclusively, and probably would have done so with or without Amazon. Those of us who prefer paper books will be more likely to get them in brick and mortar stores.
Does anyone really miss Borders? Amazon is a bigger threat to Barnes and Noble than it is to Bergen Street. We’ve seen bookstores revitalized as cultural and community centers, giving the advantage to independents. Despite the economy crashing, the advent of ebooks and the increased procurement of all goods online, Desert Island and Atomic Books are still here and the Beguiling is doing better than ever. You can’t go to Amazon to see an author read or hang out with comics glitterati at a book launch. No community will ever take ownership of Amazon, and Amazon gets books to people in remote areas that can’t support bookstores. It’s also worth noting that Amazon serves the long tail economy – you can buy every single Secret Acres book on Amazon, but not at any single retailer (other than Quimby’s, probably). The Amazon problem is far more nuanced than we’d like to admit.
So we don’t have Dylan Williams‘ backbone. But who does? We do whatever we can, because we owe it to the folks who sweat and sacrifice to work in dedication to the world’s slowest medium. They’re not doing it to sell something, they’re working to express something, and hopefully it’s something people need to hear, because that’s what art is. They have enough to handle without being judged by their ability to self-promote. We do the dirty work. That’s what being a publisher is all about for us.
As for Dan, he can speak for himself. “No Good Reason” is blazing angry and has been met with the wrath of 10,000 trolls. We grant you, you trolls, you, that it’s tough to argue that Dan is not a gatekeeper. Dan isn’t just Picturebox, he’s the Comics Journal. Dan isn’t just the Comics Journal, he’s BCGF. After reading “No Good Reason” we were left wondering if Dan wasn’t pissed off about something else. The world may never know. We hope he’s never mad at us.
If you’ve made it this far, you deserve a treat. So here’s a peek at our two SPX 2012 debuts, one above and one below. When you see them, you will plotz.
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!