Trouble with Comics

Jul 24


Hey Oilers,
See this lovely machine? That is Oily’s new (used) Risograph. I had to plunk down a hefty chunk of change to get it. Last week, the old risograph malfunctioned and it was beyond my know-how to get it back up and running (if anyone wants a GR 2700 for parts get at me). So luckily there was a machine for sale a couple hours away and I jumped on it. Why am I annoying you with this? Well, this really ate into Oily’s budget for the rest of the year so, so I have decided to keep the subscription offer open until the end of July. Since I have had to push back printing since my old machine broke, I have more time to let more people in. I didn’t hit my goal of 200 subscribers this time out. Currently, we have about 150. If I can get 50 more, I would be a happy camper. Maybe I didn’t push this subscription campaign as hard as I could or maybe you all are just sick of Oily. I don’t know. So yeah, if you want to subscribe to some cool comic books, now is the time. Get 5 comics in the mail every month. Quality shit. Some names I of cartoonists, I have coming down the pike are: Leslie Stein, Sam Gaskin, Melissa Mendes, me, Michel Fiffe (interview zine), Ben Urkowitz, Darryl Seitchik, and more.
Thanks for reading. I never take your support for granted. 
subscribe now

Nice deal for a bunch of interesting mini comics from Oily. $20 for 3 months’ worth, $40 for six months, and you may want to add another $5 for Josh Simmons’ 52 page Habit #1 as he’s always worth checking out. Note to self: don’t let anyone know I thought a Risograph was a kind of pen, because they’ll think I’m dumb.
—Christopher Allen


Hey Oilers,

See this lovely machine? That is Oily’s new (used) Risograph. I had to plunk down a hefty chunk of change to get it. Last week, the old risograph malfunctioned and it was beyond my know-how to get it back up and running (if anyone wants a GR 2700 for parts get at me). So luckily there was a machine for sale a couple hours away and I jumped on it. Why am I annoying you with this? Well, this really ate into Oily’s budget for the rest of the year so, so I have decided to keep the subscription offer open until the end of July. Since I have had to push back printing since my old machine broke, I have more time to let more people in. I didn’t hit my goal of 200 subscribers this time out. Currently, we have about 150. If I can get 50 more, I would be a happy camper. Maybe I didn’t push this subscription campaign as hard as I could or maybe you all are just sick of Oily. I don’t know. So yeah, if you want to subscribe to some cool comic books, now is the time. Get 5 comics in the mail every month. Quality shit. Some names I of cartoonists, I have coming down the pike are: Leslie Stein, Sam Gaskin, Melissa Mendes, me, Michel Fiffe (interview zine), Ben Urkowitz, Darryl Seitchik, and more.

Thanks for reading. I never take your support for granted. 


subscribe now

Nice deal for a bunch of interesting mini comics from Oily. $20 for 3 months’ worth, $40 for six months, and you may want to add another $5 for Josh Simmons’ 52 page Habit #1 as he’s always worth checking out. Note to self: don’t let anyone know I thought a Risograph was a kind of pen, because they’ll think I’m dumb.

—Christopher Allen

(via tieduptight)

Jul 10

Hawkeye Vol. 1 (2013)

Writer: Matt Fraction

Artists: David Aja, Javier Pulido, Alan Davis

Marvel Comics $16.99 USD

I’ll be honest; as much as comics have meant to me in my 43 years on Earth, I don’t read that many new ones these days. The landscape is such a minefield. Too many crossovers and stretched-out arcs. Good creative teams either move on from a title too fast, or the writer gets so inundated with work that the quality of the work suffers. Way too much editorial interference without actual constructed, educated editing. But I try to keep my eyes and ears open for the good stuff.

Matt Fraction is an interesting case. The world of genre comics (superhero, crime, horror, fantasy—basically anything but art comics) is filled with bland voices and poor craft, and so anyone with a hint of freshness can be “called up to the majors” before they’re ready. Somehow the initially overpraised Fraction, despite smug tweets and the unironic wearing of a cowboy hat, has developed into a champion writer under the dubious auspices of Marvel Comics, navigating the event-driven, continuity-resetting, crossover-driven waters quite admirably. He reminds me a little of Mark Waid in that he’s able to find a take on a character that’s a little different than anything that’s been done before, while not being so drastic that it’s a new character. And like Waid, usually humor is a key ingredient, which is why Fraction’s Iron Man run reads as more deeply felt, deeply thought-out, and just plain more fun than his run on Thor.

Hawkeye, like Tony Stark, is historically kind of a wiseass, and that’s one of the characteristics that Fraction can work with here, but he goes a lot deeper. We meet a Clint Barton who’s the world-saving Avenger Hawkeye in his day job, but is more comfortable living in a New York apartment with regular folks. He’s got no quit in him, to an obnoxious extent at times, but basically, he’s just a guy who’s really good with a prehistoric weapon. In the first, three issue arc, Fraction and Aja scale things down so it’s a hero book, not a superhero book, with Hawkeye mixing it up with Russian mobsters when one of them, the landlord, wants to sell the building and evict Clint and his neighbors. Action is slowed down, with inserts of types of arrows to get the reader into the nuts and bolts of what he does, humorously. Matt Hollingsworth’s use of violets and earth tones gives the book a unique look, which I appreciate and think is important, especially for a solo title. Most of his offbeat ideas—giving the villains matching Mini Coopers, giving Clint a Dodge muscle car, having Clint try to buy rather than beat his way out of a problem, making his lack of labels for his arrows a running gag—work quite well, and some choices are terrific, like Clint’s no-quit attitude reflected in his saving of a massively injured stray dog. Yes, the dog-saving superhero may be a shameless bid for sympathy, but it works. I also really liked the dynamic he develops between Clint and Kate, the young woman who became Hawkeye during a questionable period where Hawkeye was (secretly at first) a sword-slinging hero named Ronin. It goes beyond typical meet-cute, sarcastic-banter-covering-growing-attraction stuff. Clint has made a lot of mistakes with women and is mature enough at this point to realize it, plus Kate is much younger and he’s her mentor. So he’s set up mental barriers for himself that for the most part he’s honoring, even if it means he’s unwittingly hurting Kate’s feelings in the process of keeping this distance.

The fourth and fifth issues of the series find Pulido as the artist in an arc with more of an international flavor, with Clint attempting to buy back a videotape of him apparently assassinating someone on S.H.I.E.L.D.’s orders. It’s mainly got a lighthearted tone, appropriate for a caper story, and there are some fun lines and moments of derring-do, but there’s also a sobering question running through it: is Hawkeye a murderer? Fraction balances the tones very well, while also continuing to develop the Clint/Kate relationship. We get even more of this in a flashback story drawn by Alan Davis from Young Avengers Presents #6 (which I didn’t even know was a thing), where we see the genesis of their relationship is with Clint being a protector and mentor, someone who wants Kate to learn from his mistakes, as she will eventually take his place. It also establishes that Kate is a pretty impulsive, romantic girl, so Clint would be wise to tread carefully in regards to her feelings.

A very enjoyable collection that, unlike most comics today, is good enough that I’ve read it a few times now, out of pleasure. I don’t want to go on a rant here, but one of the big reasons comics don’t sell the way they used to is that comics of this level are harder and harder to find. Comics with tight story arcs, fresh storytelling strategies, wit, layered characterization, emotional engagement, and high quality draftsmanship. When you find it, support it.

—Christopher Allen

Jul 02

eddy currents: [38] - 2 July - What's a Gerry Conway? -


So there was this earlier in the week from Gerry Conway:

I need your help.

DC Comics is a great company.

It was the first major publisher to offer creator contracts on a regular basis, allowing the men and women who create characters for DC books to share in the profits those characters…

Agree with d. eddy here. There’s nothing wrong with what Conway is asking here, for himself or his fellow comics professionals. If he or they are due equity participation, why hinder or besmirch them? 

—Christopher Allen

Jun 19

Fantagraphics' Kim Thompson, Dead at 56 -

A giant in comics publishing and editing, a fine translator and interviewer, and a wickedly funny man, Kim Thompson has died from the lung cancer the public was informed of just a few months ago. Working alongside copublisher Gary Groth, Thompson exposed me, quite simply, to some of the most important artists and art of my life. We’ll miss you, Kim.

—Christopher Allen

Jun 14

“[Geoff] Johns built his career and set the mold for contemporary DC Comics with the way he took Green Lantern’s entire stupid, shitty history and turned it into one long nasty, blood soaked epic laced with heavy dollops of Joseph Campbell and wish fulfillment audience worship, turning an obnoxious and unpleasant comic book into an obnoxious and unpleasant Saga of Graphic Novels, and now, for the final bow of a nearly ten-year run, the best the guy can muster is an eight-dollar comic that resolves almost nothing but includes a page where his personal assistant and his boss tell him he’s special? That’s awesome.” — Tucker Stone


Those girls! 

—said the newspaper reporter.


Those girls! 

—said the newspaper reporter.

(via thehurtingtumbler)

Jun 11

Five Questions About The Albany Comic Con


The Albany Comic Con returns to the Holiday Inn on Wolf Road in Colonie, New York this Sunday, June 16th from 10 AM to 4 PM. The show has grown larger and attracted a more impressive list of comics professionals with each passing year. This year’s lineup includes J.M. DeMatteis, Todd Dezago, Fred Hembeck, Joe Jusko, Rick Leonardi, Ron Marz, Matthew Dow Smith, Joe Sinnott, Joe Staton, and others.

The Albany Comic Con always features benefits for local charities, and this year there are two to raise funds for the Albany Ronald McDonald House. The first is a charity art auction that takes place at the convention, as artwork created by the pros attending the con will be auctioned to bidders during the show. All of this year’s pieces are based on Marvel’s Avengers movie. The second fundraiser is the Albany Comic Con sponsoring the Tri-City ValleyCats (the Class A affiliate of the Houston Astros) game Saturday, July 6th, at Joe Bruno Stadium on the campus of  Hudson Valley Community College in Troy. Albany Comic Con will honor legendary comics artist Joe Sinnott.  Dubbed “Meet Joe at the Joe,” the event will give fans a chance to meet Sinnott, receive an exclusive baseball card, and get autographs from Joe and other local comic professionals. Albany Comic Con will be selling tickets to the July 6th baseball game during this Sunday’s convention. Tickets are also available at Excellent Adventures Comics in Ballston Spa, Comics Depot in Saratoga Springs, and other local comic shops around the Albany area. Game tickets are $5, and come with the Joe Sinnott baseball card. Proceeds from the tickets will benefit the Ronald McDonald House Charities of Albany.

In this edition of the Five Questions, Albany Comic Con 
organizer John Belskis weighs in with his thoughts about what has become an annual Albany tradition.

1. What is your overarching philosophy or vision of the Albany Comic Con?

To provide the regional area with a convention based on comic books and comic book art, that can be affordable and family-friendly. I think most of the larger shows have become major media events that have left comics a distant second. They can also be tremendously expensive to attend, especially for a family. Our show is more intimate, and even though smaller, is well-attended enough to give it a real sense of what a bigger convention is like. We also have kept our prices affordable which allows for a more family-friendly environment.

2. What have you learned from the past few years of holding conventions in the Albany area?

How talent-rich this area is. I’m amazed at how many professional comic book creators live within a short drive of Albany, and how willing they are to attend and always contribute to the convention. I’m also grateful to all of the local stores who help promote, and attend the convention. Many shows use the city’s name they are located in, but have many vendors from outside the city, and little support from the local shops. Our show is truly Albany Comic Con, with a local following that’s hard to match, anywhere else.

3. What one thing would you like someone to know, if they’re considering coming but have never been?

If you’re a comic fan, then this show is for you, but even if you’re not a comic fan, this is six hours of fun and nostalgia, and it’s all for only $5.00. It may also inspire your kids to want to read. What parent wouldn’t feel good about their children wanting something to read. People who have never explored comics would be amazed at the variety and complexity this hobby has to offer, for kids, and adults.

4. What is the most fulfilling thing about organizing this show year after year?

Seeing kids loving the comics, and the convention. Comics today sorely lack a next generation to continue reading and loving them. There is so much competition for the attention of kids these days. Our show in its small way gets the word out that comics are still alive. Hopefully we are inspiring another generation that will want to keep buying, reading and collecting them, for many years to come.

5. How would you like to see the show evolve in future years?

I’m happy with the slow and steady growth the show has had. I like the idea of more smaller events throughout the year, than just one large event once a year. I don’t know if we will ever grow into a major multi-day convention, but if we get there, it will happen when the time is right. I would be happier, if in 20 years, the Albany Comic Con is still going strong, with two or three shows a year, that everyone can still attend and enjoy.

Alan David Doane

Jun 08

The week in women: do we write about gender issues too much? -




I had about 20 posts in various stages on gender issues this week…let’s put them all into one big roil, complete with shocking personal confessions:

§ Villain Month is for boys: When the New 52 rolled out two years ago (!?!) it was pointed out that there was a lone female creators: inker Sandra Hope. And there were many voices raised in protest.

Sue at DC Women Kicking Ass has analyzed Villain Month, the two years out event and…guess what. Things had improved in some areas and backslid in others.:

Total female creators credits for Forever Evil announced to date:


Total female credits for writers:


Ann Nocenti (Justice League Dark #23.1: The Creeper and Batman: The Dark Knight #23.1: Joker’s Daughter)

Gail Simone (Batman: The Dark Knight #23.1:The Ventriloquist)

Marguerite Bennett (Justice League #23.2: Lobo)

Total female credits for art:


That’s right 0. With 52 different covers and 52 books to be drawn, the total number of female artists with credits (that have been announced) is 0.

That gendercrunching guy has his own take on the numbers—I don’t usually quote these because I find comparing a female assistant editor to a female artist misleading but the metric is constant.

Is this concerning? Well, in the abstract, of course it is. With women drawing more comics, more bestselling comics and getting more acclaim everywhere in the mainstream world, its troubling that they’ve made so little headway at DC. In a larger sense, I find it far less remarkable. When the New 52 launched it was supposed to be “new” and female artists at DC were a new concept and thus part of the freshening up mode, so leaving them out seemed like a giant step backwards.

Two years later we kind of see where this is going, and getting new voices is not as much of a priority for DC as character management.

Still, meet the new boss, etc.

(Aside: I’ve heard people going “where is Amanda Conner??!!??” which is understandable because she’s an amazing artist but she is always working and FUN FACT there are scores of women artists around the world working on comics right this minute besides Amanda Conner. Women in Comics does not begin and end with Conner, Thompson and Doran.)

§ Where are the great female comics journalists? On a somewhat similar note, while I’m super thrilled to see Comics Alliance back, this Reservoir Dogs-style staff pic did make me sad.

Can you guess why?

I’ve always been baffled why a site that has contributed so much to the notions of diversity and gender equality in comics hasn’t been able to develop more female writers. When I ask this kind of question I’m usually told,  it’s because none have come forward, and I’m sure it’s true. You see a site where 95% of the posts are written by men and you might suspect it isn’t a welcoming place, even if it isn’t true.

At The Beat I’ve assembled about equal numbers of male and female contributors. (I should note that ComicsMix also has a lot of female writers.) I didn’t set out to do it that way, I just noticed writers I liked or who came to me. Over at PW Comics World, Publisher’s Weekly’s comics newsletter, we had way more female reporters than male. In recent years, with the internet allowing women to be more vocal about their interests, and the (mostly male) gatekeepers who decided women didn’t belong at the big table neutralized, I’ve had no problem finding competent, insightful women to write about comics and other nerd topics. (To be fair, at the Beat I don’t have to answer to corporate goals for traffic, so I have far fewer concerns about content than a blog like Comics Alliance.)

That said, I do notice that women, even online, tend to segregate themselves into places where they feel more welcome or safer like Tumblr. Maybe it is time for women themselves to reach out more? And also not just write about gender issues. It’s important to jump on the outrage of the day, but if all you write about is gender, that’s how you will be branded, and only women “have gender” in the eyes of men. It’s a Catch 22 and a losing scenario.

Since I’m horn tooting, here’s one more example of mixing things up I was involved in. Caleb J. Mozzocco recently wrote about DC’s 25 most essential graphic novels list

Is it worth pointing out that none of the books are written by a woman, and, in fact, there’s only one female artist who has work on that list—Y: The Last Man’s Pia Guerra—although Lynn Varley’s Dark Knight colors and Karen Berger’s editing of some of the best books on that list are a good reminder that this list isn’t quite as male as it may appear simply by looking at the writers, pencil artists and inkers (Any suggestions for something written or drawn by a woman that DC has done that belongs on this list? The down side of not hiring many women to write or draw for you means that few classic or essential comics have been generated by them in the past. The few women in DC’s employ at the moment—Christie Marx, Gail Simone, Nicola Scott—are just working on continuity-heavy, unexceptional work).

So yeah, on DC’s list of 25 essential graphic novels—a list that represents an incredible body of lasting work—there is only one female writer or artist. And you know why there is ONE? Because I hired her. When I was an editor at Vertigo, I saw Pia’s samples, loved them, showed them to writers who loved them, BKV won the lottery to use her on a pitch and the rest is history. (And yeah, I’m sure BKV has a little to do with Y the Last Man being considered a classic than anything I ever did.) I don’t believe in quotas or affirmative action, but I do believe to live in a more diverse and interesting world you have to actually do something about diversity.


§ Behind every woman…: There was also this this week. It’s so stupid that I hesitate to bring it up, but basically some idiot thinks Kelly Sue DeConnick only gets writing work because she’s marred to Matt Fraction. I can testify that when I met them (separately, before they even started dating) Kelly Sue was better known in comics than Fraction was, and sometime you marry someone who has common interests that you are both pursuing and it’s a lot of fun.

But the reason I brought this up because it made me flash back to about 25 years ago when a still-very prominent and much loved comics publisher told me “All the women in comics get work because they’re dating a guy in comics.” And then this guy laughed because it was all a joke and I shouldn’t be offended. Maybe this was stupid of me, but that moment was part of the reason that I resisted having a serious relationship in the comics industry for years. I knew the minute I was part of a “couple,” everything I did would no longer be my success but because of the “couple’s” success.

Now that I’m in a wonderful relationship with a wonderful man who is also in comics (and I’m also a little wiser) I see that being with someone who really understands what you love is one of the best situations you can be in. But idiots will take it as nepotism no matter what. Keep fighting, Kelly Sue, keep fighting.

§ The wisdom of Whedon: Speaking of men who do get it, Joss Whedon was promoting his little Much Ado About Nothing film and had many insightful and informed things to say.

Why do you think there’s a lack of female superheroes in film?

Toymakers will tell you they won’t sell enough, and movie people will point to the two terrible superheroine movies that were made and say, You see? It can’t be done. It’s stupid, and I’m hoping The Hunger Games will lead to a paradigm shift. It’s frustrating to me that I don’t see anybody developing one of these movies. It actually pisses me off. My daughter watched The Avengers and was like, “My favorite characters were the Black Widow and Maria Hill,” and I thought, Yeah, of course they were. I read a beautiful thing Junot Diaz wrote: “If you want to make a human being into a monster, deny them, at the cultural level, any reflection of themselves.”

§ Women in Hollywood gain a scrap of influence: AND WHILE WE’RE FINISHING THIS UP: here is what I consider a must read, The Hollywood Reporter’s Revenge of the Over 40 Actresses. The bottom line for this story is “The audience is aging and so are the stars” as the Baby Boom generation continues it chicken-in-the-snake ripple through demographics. But there are some surprising stats in the piece:

Even so, the industry still reacts with surprise whenever a female star demonstrates box-office clout. On March 15, The Call, an otherwise routine thriller, opened as that weekend’s top new wide release thanks to the presence of Halle Berry, 46. The TriStar film bowed to $17.1 million, trouncing the heavily promoted Steve Carell-Jim Carrey comedy The Incredible Burt Wonderstone (in which Carell, 50, was paired romantically with Olivia Wilde, 29). Female moviegoers made up 56 percent of Call’s audience, and 48 percent of the overall audience cited Berry as the reason for turning out.

Making sure older female moviegoers — in Hollywood’s marketing lingo, “older” means those over 25 — have someone to root for in a movie even can factor into the casting of tentpoles looking to attract all four quadrants. And so, Gwyneth Paltrow, 40, became a key marketing hook for this year’s top-performing film to date, Iron Man 3. (It’s worth noting that when Marvel and director Jon Favreauwere assembling the first Iron Man, they sought McAdams, then 29, for the role of Pepper Potts, which Paltrow eventually made her own.) “Ever since I’ve turned 40, I feel younger than ever and more energetic,” announced Paltrow at the Iron Man 3 premiere in Hollywood. “I’m ready. I’m ready for action now.”

There’s also advice that mirrors what I was saying a few graphs ago — you gotta make your own opportunities.

“I advise any actor to take control of your career,” says Feig. “Start doing stand-up. Start writing roles for yourself. When you’re sitting around waiting for the town to have an epiphany, you’re going to sit forever. Look for the parts, chase the parts, but at the same time, seize control.”

Kristen Wiig did just that when she co-wrote and starred in Feig’s Bridesmaids. She finds herself among the town’s most in-demand despite being on the precipice of 40 (she turns 40 this summer). “She’s definitely someone who can get a movie made on her name alone,” notes Gabler.

Of course, all this positive thinking gets rebuffed when you really dig down into the numbers:

But not all the news is encouraging. A recent USC study tracked characters appearing in the 500 top-grossing films from 2007 to 2012 and found that the percentage of females between the ages of 40 and 64 has not changed meaningfully over time. The majority of all female characters onscreen in the 100 most popular films in 2012 were between ages 21 and 39. And, among characters in the 40- to 64-year-old range, males outnumbered female characters by nearly 4-to-1.


§ The politics of cosplay: Now here’s where I get into trouble. I’ve avoiding talking much about cosplay here because a) it’s not my major field of study and b) I think my opinions differ from those of many on the cosplay scene. Anyway there was a long and very smart article by Emily Finke called Slut Shaming and Concern Trolling in Geek Culture about a woman who went to a con wearing a mini skirted Star Fleet uniform and was castigated for it:

Dragon*Con isn’t perfect, and in most ways, is a much less safe convention for a woman. However, at Dragon*Con, I am accepted as a costumer. At a con like Balticon, I’m celebrated as eye candy. I felt like I was placed in the role of Convention Booth Babe, receiving both the objectified interest from the men and the scorn of the women.

While I don’t think anyone should be abused, touched or treated like an object no matter how they are dressed as a con—even the guys in tights with no underwear—I’m far more fired up about other gender related issues than I am about the right to wear costumes that were designed by men specifically to objectify women. Those Star Trek costumes were stupid and meant to make women look sexy not to make a statement about empowerment—even if wearing a mini skirt was considered a form of empowerment by women in the 60s. Finke says a lot of women told her her skirt was too short and ascribes the motives to jealousy (probably true) and bringing her down a peg (also true.) We do live live in a society where wearing a skirt that’s too short—or wearing tights with no underwear and your franks ‘n’ beans showing—means you aren’t taken seriously and that’s hurtful.

Unfortunately, the default assumption of convention space is “male space” The really annoying thing about this whole discussion? Convention space has never been a space that was solely the domain of men. From the very beginning of the fandom that I chose to represent at Balticon — Star Trek — conventions had women. Women creating costumes, dressing as Klingons. Women discussing gender and racial politics in the series. Women participating in collaborative remixing of the canon. There have always been women objecting to “warrior women” on the covers of books and magazines and protesting the misogynistic habits of male writers who enjoy pinching and groping. There have always been women using science fiction to rewrite gender assumptions. They were there. They are there. They’ve always been there. The history of geekdom is not a history of men, it’s a history of invisible women.

The “invisible woman” syndrome is really what I’ve been writing about in each and every item in this list: not getting hired, not being noticed, not getting credit.

Being attractive and wearing costumes that enhance that is a good way to get attention—you’re certainly not invisible. While I support the right of every women to show off her confidence and lore by wearing whatever costume she wants—and not to be quizzed and questioned, let alone harassed and abused. But it only goes part of the way, and it’s only part of the struggle.

Okay out of time and room. Next time: why a female Doctor Who would destroy society as we know it.

#call_to_action h4{padding:0px 5px;} #social-essentials {margin: 0 0 10px 0;}

Good stuff here from Heidi Macdonald. DC Comics is always worth discussing because of their prominence in North American comics, but as Heidi points out, there are a lot of women doing comics for other publishers, self-published, as illustrators and animators, or doing comics in other countries. When it comes to minority representation, one must always keep in mind that old publishers like Marvel and DC created most of their characters (for the purpose of this point, I’m calling them the creators) in times when they were targeting young, usually white, males, with minimal effort over the years to be more diverse, both with the characters and stories and the talent hired to make them. It echoes the Diaz quote by Whedon; when women or other minorities don’t see themselves truly reflected in the comics, the comics don’t take hold in their hearts, and they move on to other things. This is not to say there aren’t many female artists, writers and editors who could do great work for DC, but I do think there is a smaller percentage than the guys who grew up with 40-50 male heroic role models or analogues every month. I think with some of these eligible women, not having drunk that superhero Kool-Aid when they were young, they see through a lot of the bullshit at these publishers and don’t think it’s worth it to try to fit within these restrictive systems that seem more and more to be chewing up talented people. And you know, if Amanda Conner’s begets project in 2012 is Before Watchmen, I’d rather she go elsewhere, anyway.

—Christopher Allen

(via comixace)

Jun 06

Paul Jenkins On Leaving Marvel and DC -

Excellent interview with veteran comics scribe Jenkins on his choice to work for BOOM!, describing the culture at Marvel as too event-driven, continuity-shackled and inconsequential, and DC as much worse, with bullying, uncommunicative and incompetent editing. Jenkins is a guy who’s had his ups and downs, more downs of late, and this perhaps puts some of that in perspective. I should note that when I say, “excellent interview,” this is mainly to Jenkins’ credit, as he’s able to reasonably and thoughtfully navigate through Rich Johnston’s caustic, accusatory style of questioning. Johnston seems not to recognize the appreciably different ways Jenkins describes Marvel and DC (he’s much more measured about Marvel and isn’t saying farewell forever), delighting in his perception of Jenkins’ possible burning of bridges, and at one point he challenges Jenkins to “present evidence” that his detailed, lengthy and reasonable accounting of conditions at DC aren’t just “sour grapes”. He does ask intelligent questions about BOOM!, though, which does have some business practices worth questioning even if the creative environment seems healthier.

—Christopher Allen

Apr 28

ADD Reviews Jim Rugg’s Supermag

Jim Rugg’s Supermag (published by AdHouse Books) is kind of like the AdBusters of comics magazines — it takes a familiar format and recontextualizes it to display Rugg’s many and varied illustrative modes. There’s no single narrative; short stories and random pages from hypothetical comics co-exist within Supermag’s pages. Readers of Rugg’s Afrodisiac graphic novel will be comfortable with the approach, although Supermag lacks the laser focus of that book. Rather, Supermag seems to be a summation of everything Rugg has learned about creating art and comics, a “Where Is He Now?” moment that begs the question, “What comes next?”


I loved Rugg’s work on Street Angel a few years back, a five-issue alternative superhero comic that was strong on story and featured bold cartooning and some early hints of the various styles that Rugg often utilizes, from ballpoint ketches to fully-realized paintings. There’s a lot of pastiche and homage at work in the pages of Supermag, as well as some one-off illustrations and Photoshop wizardry. The comics content shows a lot of Dan Clowes and Charles Burns inspiration, but if you’re going to be inspired, you could do far worse than Clowes and Burns.

The magazine’s visual virtuosity suggests a budget-friendly coffee-table art book, something Rugg’s art has earned and probably would have achieved by now if the economy hadn’t taken the turn it did five years ago. The non-superhero comics industry has adjusted to our new reality in a number of ways since then, and if Supermag is an answer to the question “How can we affordably present a dazzling array of Jim Rugg artwork and remind people of just how powerful and witty a cartoonist he is?” then, I am glad someone asked. At a smidge under ten bucks, you get a lot of stunning design and memorable eye pops for about what you’d pay for a crappy lunch at Wendy’s.

Me, I’ve quietly been waiting for more Street Angel for a long time now, but Supermag indicates that Rugg has a lot of other interests (although Jesse Sanchez, and Afrodisiac do both pop up in the pages of Supermag), and its implicit promise seems to be that whatever Rugg does next, it should be fun and beautiful to look at. I hope it happens soon.

Alan David Doane