SINCE I went solo to Autoptic, I’m going solo on the damn Scuttlebutt. Deal with it. Now, I know that millennials are the only demographic worth targeting these days, and I understand that millennials like two things (other than having personalized food experiences): Buzzfeed and Snapchat. As near as I can tell, there’s no way to replicate the Snapchat experience via a blog post (or without disrobing), so I will try to make this Acres post relevant and “social” by making it more like Buzzfeed, which seems to be a place where there’s a lot of lists of things masquerading as news articles. So here is a list of things masquerading as a blog post about the recent independent culture festival in Minneapolis called Autoptic.
Three Things that Made My Trip Out to Minneapolis Fun:
1) Discovering that Aaron Cockle and I both booked the exact same flights to and from MPS. Also, seeing the vague look of terror in Aaron’s eyes when I waved at him from the back of the security line at JFK screaming “Hey, hey!”
2) Being seated with a family of hillbillies on the flight out. I was pretty sure they had a dancing pet raccoon hidden somewhere amongst their carry-ons. This family single-handedly justifies the practice of airlines charging for snacks. Someone could have retired on the proceeds from their in-flight harvest festival.
3) Xanax. When I unpacked I discovered that I had been using an airplane barf bag as a bookmark during the flight. And by discovered, I mean I had no idea I was reading anything to begin with until I saw twist ties sticking out from my book.
Five Great Things About Minneapolis:
1) It’s sparkly-clean! Except for the occasional instance of pseudo-inspirational graffiti that might end up annoying the crap out of Annie Koyama:
2) The regionally popular “Minnesota Baby Toss”
3) Extensive Sculpture Gardening
4) Vaguely sinister Anti-capitalist Bench Messaging
5) Urinal Splash Guards. WHY ARE THESE NOT IN EVERY MEN’S BATHROOM ON EARTH? And yes, I deserved the mortification I endured of having someone walk in the bathroom and catch me taking a picture of the urinals. Urinal documentation is a very specific kind of tourism.
Ten Great Things About Autoptic
1) The space. The space. The space. Probably the single-best convention location I’ve seen. Yeah, even better than the Toronto Public Library. One could easily even hose down the ARIA building at the end of the day to remove the exhibitor-stink, if necessary. The ARIA building seems like the sort of place where elegant vampires would congregate. That’s a good vibe for comics, music and art, I think.
2) Free wi-fi with an EASY TO REMEMBER password. Keep in mind that many attendees are cartoonists, not pirate-hackers. There’s no need to lock down the wifi with an elaborate hexadecimal passcode. No one is going to use your free wifi to infiltrate the NSA. It’s just for Paypal, Square Register and teh Twitterz.
3) The collective pleasantness of Minneapolis cartoonists. They want you to love Minneapolis as much as they do. I’ve never received as much attention from local comics folks and show organizers as I did at Autoptic. Is Jordan Shiveley charming? Jordan Shively could charm the white out of a blizzard. Everyone associated with the event was accommodating, pleasant and professional: Zak Sally, Tom K., Raighne Hogan, et al.
4) The star power attached to a single-day premiere show. Autoptic answers the question, what if you had a party and EVERYONE came? There were only a handful of comics folks missing that I generally expect to see at conventions: Sundays, AdHouse, CCS and Closed Caption Comics all come to mind, but many of the usual small publishers, self-publishers and collectives were represented in one form or another. Special guests included Jaime Hernandez, Lisa Hanawalt, John P., Marc Bell, Kevin Huizenga and many other greats. In no way did Autoptic ever feel like anything other than a tier one show.
5) Free admission! There were loads of curious passer-bys dropping in, just like at (the now defunct) BCGF. Autoptic felt like it was for everyone.
6) Convenient location for an out-of-towner. The ARIA space was a 15 – 20 minute walk from a large number of hotels.
7) A food truck outside ARIA that sold delicious LAMB BELLY TACOS. I am not fucking with you. Lamb belly tacos is a thing and it’s on a truck in Minneapolis for you to buy and devour when you go to Autoptic.
8) I was late to the party but there was a full week of stellar programming and events leading up to Autoptic (hopefully, there will be some blog posts by others on this). I did catch part of the Experimental Animation Screening on Saturday night presented by Lilli Carré and Anders Nilsen. Awesome, intricate stuff.
9) Top-notch volunteers. They came around to tables asking if exhibitors needed anything. Also, all of the books we shipped were delivered and waiting for us at set-up. And there was a green room! Totally professional.
10) For the adventurous conventioneer in search of an adult beverage who can convince the ever-selfless Eamon Espey to cover his table for twenty minutes, Minneapolis fancy cocktail destination, Marvel Bar is approximately across the street from Autoptic (and down some stairs and through an unmarked door, because every cocktail bar excursion should mimic a journey to Mount Doom, right?). One word of advice, do not order a daiquiri at Marvel Bar. Shit gets ugly if you order a daiquiri at Marvel Bar on a Sunday.
Five Challenging Things About Autoptic
1) No nearby ATMs. There was chatter that some sales were lost due to customers being unwilling to travel to get cash.
2) No alcohol. By what perverse circumstances would there be people dressed like bartenders standing around a bar-like structure, but refusing to dispense actual adult beverages? It’s no secret that part of SPX’s allure is its constant proximity to an operational hotel bar. Some of us like to numb the pain of poor sales with devil tonic.
3) Limited sales. There was a perfect recipe for a lucrative show: a large crowd, great weather and free admission. Attendees seemed very interested in comics and graphic art, but most of our sales were to local folks that were already familiar with our books. New customers seemed curious, but unwilling to make a purchase. I would say that a similar customer at BCGF would be much more likely to buy a book and check out something new. It seemed like prints and posters were the top sellers at Autoptic. From our standpoint, sales covered one leg of our flight out to Minneapolis, which is not good sales for us. Autoptic is not specifically a comics show, so that could also play a part in why our sales were so soft.
4) Erratic lighting. Certain areas were kind of dim. I was getting self conscious about which books I was relegating to the “dark side” of the table. To be fair, the space must be difficult to light well at all and most of the convention hall seemed appropriately lit.
5) Adorable but confusing map. I heard more than one complaint that the lovingly-designed Autoptic map might have been slightly confusing and/or misleading as to actual distances and directions. To be fair to the organizers, a comprehensive Google Map was provided on the site with all of the relevant locations keyed in that could be easily saved to your Google account and accessed on a smartphone. But I know two comics folks who don’t have fancy phones and maybe got a little lost. Like walking around Minneapolis for an extra hour kind of lost.
6) This has nothing to do with Autoptic, but the after party venue, The Red Stag Supper Club, seemed to be staffed for a much smaller crowd than the crowd that magically appeared. A lot of diners seemed to have difficulty getting food and drinks. But the space was great and once the crowds departed, the remaining conventioneers proceeded to have a grand time and I don’t think anyone ended up minding the initial wait.
Five Unsuccessful Things I Did to Try and Increase Sales
1) Move to the “dark side” of the table to look less conspicuous/desperate/predatory.
2) Pretended to sketch in a moleskine notebook like a real artist and pass off all of the Acres books as my own work under various crafty aliases.
3) Passively subtweeted about a comics celebrity with fantastic hair just for the attention and to remind exhibitors I was there selling books and participating in a panel.
4) Tricked Eamon Espey into covering the table. Actually, this did kind of increase sales. And I scored a sazerac at Marvel Bar. WIN WIN. Thanks, Eamon!
5) Glared at Aaron Cockle and Jen Vaughn to make it look like I was at Autoptic to settle a publisher grudge instead of sell books. “Oh you want to buy comics from me? Yeah, you’re going to need to give me a minute, I need to iron something out over at the Fantagraphics table with Princess Pink Hair. BRB.”
I was on a panel with Bill K and at one point we were discussing the role of conventions as a way of distributing indie books when there are no clear distribution channels if Diamond or Consortium aren’t really going to work for the majority of your published output, and what the real role of comics shows would be if the ideal indie distributor existed. It’s a very interesting topic to us at Secret Acres. Leon and I went to a lot of conventions this year and collected a lot of experience on what it means to participate in these events from a social and economic standpoint. I think our end of year blog post will address our collective thoughts on the awesomeness and (occasional) economic suicide of traveling to distant comics shows. I loved every minute of Autoptic but it was not a show that made any kind of economic sense for Secret Acres to attend. Even if we had debuted a book, I am not sure that we’d have come close to breaking even on travel expenses. That said, it seemed to make perfect cultural sense to attend – I got to connect with a lot of fans of Secret Acres’ books and artists, and I felt right at home with all of the publishers and creators that I’m used to seeing at other shows in other cities. It’s difficult to say what the right balance is between the two and whether or not participating at an economic loss is the right answer when Secret Acres needs to be smart about staying afloat and funding more and more great books and artists. Fortunately, it looks like the next Autoptic is in 2015, so we’ll have sufficient time to think on it and maybe squirrel away some funds so we can go again.
I did have one terrible moment in Minneapolis. I was heckled by a cyclist! Walking back to the Marquette Hotel from The Red Stag, over the Hennepin Avenue Bridge, the heckler screamed “Nice shirt!” as he biked toward me, and then “Actually, it’s not a very nice shirt!” as he zoomed past. These are the sort of atrocities that Minneapolis offers to the universe. If I never return to Minneapolis, you can thank the monster who insulted my light gray button down utility shirt. I won’t offer any distinguishing details for fear that Zak Sally would track him down and kick his ass.
It was very gratifying having a chance to meet and/or get caught up with a lot of folks: Annie Koyama, Tom Neely, David King, Brad McGinty, Anna Bongiovanni, Cathy G. Johnson, Kevin Czap, Greg Hunter, Elijah Brubaker, Virginia Paine, Laura Park, Noah Van Sciver, Ed Kanerva, Rob Clough, JT Dockery, Rob Kirby, Foxing Quarterly, Jim Rugg and others: The World is Yours!
We won’t be away for long – expect a pre-SPX post from us in a few short weeks! Iron Bound is here and we’re not going to shut up about it!
@ryancecil Sorry, Ryan! There were issues galore with the site, but they appear to be resolved. Emphasis on appear.
- Tuesday Jul 22 - 3:09pm
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!