Linkblogging: Good Food, Good Books, Good Art.

My friend Corey Mintz has started a food blog. It combines recipies, restaurant reviews done for Eye Magazine here in town, and food-related writing and remembrances. It’s good stuff, even though he disdains avacado.

Samurai Pizza Cats, by Eric KimMeanwhile, my friend Eric Kim has started up a blog about his art and comics work. It’s called [doublepeace] and so far there’s some nice stuff up there that was formerly posted to his LJ, now inactive. Add it to your RSS feeds and you too can see cool things like The Samurai Pizza Cats rendered in tiny pixels.

I’ve updated The Beguiling’s blog with a ton of stuff in the last couple of days. Art Spiegelman in Toronto April 3, Persepolis is playing down the street, we’ve got a sweet deal on TCAF posters, etc. If you’re in Toronto you should probably subscribe to our mailing list, it’s all good stuff.

The video game website Game Daily has a list of the top 10 Pokemon they’d like to eat. I always wonder about cartoon shows like that where there are talking, anthropomorphic creatures running around… What do the humans eat? Sure, Charizard and Pikachu will battle it out. But if the electric rat loses, is he dragon-lunch? Fantastic.

– Chris
Edit to fix link to Doublepeace!

New York Comic-Con: See you there…

For the third year in a row I’ll be at the New York Comic Con, April 18-20. Actually, I’ll be in New York from the 17th to the 21st, which should be fun and a little less _intense_. I do so ♥ New York.

I think I’m going to be participating in a few panels while I’m at the show, but so far as I can tell the programming isn’t live yet so maybe I’ll just shut my gob… Anyone who wants me for a panel or anything, let me know through the usual channels, chances are I’m up for it.

Oh, and I got pillaged ($$) for a hotel room, and if I weren’t splitting it it would suck. If you’re looking to book, book soon, a lot of places near the convention were selling out as I was booking today.

– Chris

Anime Thieves: You Are Awful People.

anhg01.jpgCustomer interaction 1 minute ago.

[Customer is a full-grown man(child) standing in front of one of the anime cases, jumping up and down. Ostensibly to see the top shelf.]

Chris: Bit of glare on the case I guess, can I help you with anything sir?

Customer: Do you guys have sales?

Chris: Usually on boxing day. That’s about it…

Customer: Oh, I want that anime but it’s too expensive. That’s why I asked if you have sales. You guys should lower your prices or I’ll have to download it.

Chris: Excuse me?

Customer: People will download it if it’s too expensive. You should lower your prices.

Chris: So if you walked into a store and didn’t like the price of a can of coke you would just rob them?

Customer: Oh… uh, I’m not going to rob you.

Chris: You’re going to rob the company instead.

Customer: Yeah.

Chris: That’s awful. That’s awful.

Customer: Uh…

Chris: You are awful.

[Customer sheepishly leaves store.]

End Scene.

– Christopher

PiQ Issue #1: Post-Mortem

piq-cover-small.jpgI think it’s important to point out that in the first issue of PiQ, the magazine calls its readership the following names: nerds, dorks, geeks, freaks, maniacs, and pervos.

They seem to mean these little bon mots with affection, but it does tell you quite clearly what the editorial staff thinks of its readership. Of course, the new magazine from ADV (nascent anime and manga publisher) is meant to replace Newtype USA, their former chronicle of otaku culture with a name and content licensed from the original Japanese Newtype magazine, and so some recognition that it is the hardcore fan who may be used to such derisive terms may simply be a way to ingratiate itself to the new readership. But it’s going to take a lot more than saying that we’re all nerds together and adopting the tagline “Entertainment for the rest of us” to convince me that they have anything to say, let alone that we’re all alike…

I previously covered PiQ magazine when I got my hands on the press-kit for the magazine prior to its release. The press kit broke down the aims of the magazine and their demographics quite clearly: they want men age 18-34. I’d say the magazine delivers on that promise, though they don’t quite realize that not every man in that demographic is interchangable…
I’m going to be upfront and say that I disliked the first issue. I’m not going to string you along listing good and bad before revealing my ultimate conclusion; PiQ Magazine #1 wasn’t very good. That out of the way, PiQ does have strengths to recommend it, and a lot of potential, but going by the first issue they’re going to have to work awfully hard to achieve any measure of success. It’s incredibly problematic and likely quite rushed, and with a lot of former Newtype readers already very, very angry at them, they’re going to need to improve, and quickly, to get a chance at long-term survival.

I’ve written an incredibly thorough page-by-page analysis of the magazine. It’s taken days to actually put it all together. I’ve included it behind the cut because people browsing here probably have no interest in a 6500 word essay on a magazine that they will never read, but when I say POST MORTEM I actually mean it. I am digging through the entrails of this thing CSI-style to find out what they’re doing and why. Don’t say I didn’t warn you, and you probably shouldn’t bother reading unless you’re really, really interested in the subject.

With that, click to continue: Continue reading “PiQ Issue #1: Post-Mortem”

More on Michel…

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image04.jpgJust a quick note that Michel Rabagliati got a very nice interview in The National Post today, in advance of his appearance in Toronto this weekend:

It must be cathartic, however, for Rabagliati to tackle some of the issues he does: For instance, Paul Goes Fishing follows Paul and his partner, Lucie, as they try to start a family. The book deals with the multiple miscarriages they faced, but Rabagliati says his partner was OK with him discussing such matters in a public forum.

“It was tough,” he says. “When you start drawing it, and you start drawing the blood … it really puts you back in this particular context. It’s pretty sad sometimes. I must confess, sometimes I get a little bit depressed or I cry a bit when I [draw] that.

“I like drawing these stories about real life. [But] that’s the problem with it: I have to deal with that.”

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I heard the event got a nice little mention in Xtra Magazine here in Toronto as well (Xtra.ca) but it’s not online, so you’ll have to go out and pick up a copy if you’re in the Toronto area. Thanks for putting up with my constant pimping of this event by the by, I’m quite excited about it and the books are among my favourites published by D&Q.
– Christopher

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Art from Top: Paul in the Metro, French edition cover for Paul Goes Fishing, a musical panel from Paul Moves Out, and a moment of regret from Paul Moves Out. He looks so cute in his Y-Fronts. 

PRADA IS JAMES JEAN: Comic artist covers spring collection.

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What’s comics about this picture? Give up? It’s James Jean, his illustrations bedecking the fabulous organza silk tunic and pant combo, inspiring the colours of all of the outfits, and acting as the canvas upon which these models are laid.

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James Jean, cover artist for various popular comic series including Fables and The Umbrella Academy, and a comics creator himself whose work can be found in anthologies including the forthcoming Meathaus: SOS, has his art splashed across the spring collection from Prada.

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Jean’s first announcement of a collaboration with the internationally renowned fashion house came last summer, when he mentioned on-panel at the Toronto Comic Arts Festival (which I co-founded) that he would be designing a massive mural installation in the New York Prada boutique. The New York gig became New York and Beverly Hills, and the mural became the inspiration for an animated film/commercial for Prada, Trembled Blossoms, a unique animated affair that features the dark faerie designs and illustrations of Jean, set to a creepy ambient trip-hop soundtrack and featuring gorgeous creatures turning into shoes, frocks, and handbags.

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The collection is huge, more than a hundred pieces including this organza silk fairy-print top modeled by the lovely Kate Moss and checking in at around $2200. While industry sites had made notice of Jean’s mural and film, no one (myself included) seemed to have noticed that James Jean’s palette, visual style, and even his actual illustration, is present across almost the entire line, and to be found in the pages of virtually every fashion magazine around the world. No one of course, except The National Post’s Nathalie Atkinson, who profiled Jean last month in a huge double-page spread that incorporated his commercial and fine art, as well as the new fashions that bear his art. Unfortunately, the spread that featured the art is no longer online, but do check-out the profile text which is still available.

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Curiously, Jean’s involvement feels like it is being kept from the limelight, with most of the praise resting squarely on the shoulders of Prada head Miuccia Prada. One of the few mentions I’ve seen of Jean’s involvement came from the New York Times Magazine, both in print and on their website (they loved the collection, by the by). But for anyone familiar with Jean’s illustration and comics work, it’s hard not to see the inspiration. Jean’s work even adorns the “IT” handbag of the spring, much as Japanese illustrator and artist Takeshi Murakami’s collaboration with Louis Vuitton defined couture fashion handbags several years ago:

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The Prada Fairy Bag comes in square and round versions, and is apparently the must-have item right now. Completely sold out from the New York Prada boutique (the only place you can find it when you can find it), this site estimates that less than 15 people are “walking around the city with Prada fairies dangling off their shoulders.” If you can actually find one, it’ll run you $2,300.

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Finally, a piece of James Jean art that will get female collectors with a taste for the finer things as excited as the men. Is that sexist of me? Apologies.

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So who’s wearing James Jean’s prints on Prada this spring? Everybody. Shown above is Marion Cotillard, the actress who tackled the role of Edith Piaf in the film La Vie En Rose, an Academy Award-winning performance. Marion is showing off the printed silk organza skirt, $2,195, in this photo shoot for ELLE magazine.

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This chunky-heeled Runway Collection Mary Jane is pretty fierce, incorporating a floral design found in the original mural. A pair of these will set you back $790 from Neiman Marcus.

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Now, I’ve got something of a vested interest in this post. As I mentioned at the beginning, Mr. Jean has been an Honoured Guest at the last two Toronto Comic Arts Festivals, and I hold his work in high esteem. James was even kind enough to accept our commission for a TCAF poster in 2005, and another in 2007 for The Beguiling’s 20th Anniversary Ltd. Print. I’m thrilled to see his work being so widely acclaimed. While this post is about his contributions to the world of high fashion, I’m also thrilled to see him moving more and more towards fine arts and traditional media. While I fear it might mean the end of his contributions to illustration (and comics…), it’s been fantastic watching him grow as an artist, from all the way back to when I first discovered his work in one of the early Meathaus publications. James’ blog is essential reading, and I highly recommend it.

canvas-bag.jpgPrada is a big name–and big business! Their Spring line has been covered by everyone in the fashion world, which makes it very easy for you to track down the entire collection (at least online… you’ll need a swiss bank account and some very good connections to track it all down in the real world). The folks at Style.com have a fantastic slideshow feature on the collection, with the pictures (including some nice detail shots) and even a review, for those of you that need hand-holding into the world of haute couture.

I did.

Congrats to James Jean on this career milestone; not every comics creator can say they’ve had such a wide and prestigious distribution of their work (just him, Paul Pope, and Range Murata I believe). And for you die-hard collectors? You’ve got a whole new avenue of rare art to obsess over…!

– Christopher Butcher

Photo Credits from top: Prada Advertisement, Prada Advertisement (detail), Prada Advertisement, all ©2008 Prada. Kate Moss in Prada, photographed by Craig McDean from UK Vogue. Prada Advertisement, Prada Advertisement, all ©2008 Prada. Prada Fairy-print Bag image from nymag.com, ©2008 New York Media Holdings LLC. Photo of Marion Cotillard by Tom Munroe from Elle Magazine. Photo of Runway Collection Mary Jane by Svend Lindbaek, from Elle Magazine. Beguiling 20th Anniversary Image by James Jean, ©2008 The Beguiling and James Jean. Fairy Canvas Bag product shot. When not explicitly stated, copyright is unknown but is generally assumed to rest with the photographer mentioned.

All About Michel Rabagliati – In Toronto This Weekend

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Paul Goes Fishing CoverThe Toronto event with Michel Rabagliati is coming up this weekend (Saturday March 15th at 5pm at the Lillian H. Smith Library). Rabagliati is the author of the ‘Paul’ series of graphic novels, the newest of which is Paul Goes Fishing published by Drawn + Quarterly (and it’s much more interesting than it sounds). In a lovely bit of confluence (which is to say the hard work of D+Q’s publicity director Jamie Quail) there are a couple of good articles on Rabagliati that have shown up in the past couple of days.

First up, Newsarama has an interview with Rabagliati, mostly just introducing the readership to the work of Rabagliati, although the discussion does bring to mind the recent publishing industry scandal about fake memoir in an interesting way:

NRAMA: When you started creating comics, what made you create a fictional alter-ego, Paul, through which to tell your stories rather than using real names?

MR: I did it to keep a certain distance. And Paul isn’t 100% autobiographical. The books are works of “auto-fiction” to various degrees. There’s plenty of fiction in them, but it’s fiction that draws on everyday life and isn’t necessarily visible to the reader. And so the reader thinks everything is true, when in fact what it is, is plausible.

Next up, The Toronto Star’s Raju Mudhar offers up an interview and profile of Rabagliati which touches on the artist’s move from illustration and graphic design to being a full-time graphic novelist.

“I kind of forgot about comics for about 25 years … I starting doing comics around when I turned 40 and stopped doing graphic design and illustration work. I’m that kind of guy and I do these kinds of moves in my life and they’re pretty hazardous sometimes. Now it’s paying off a little,” he says. “I’m 47 years old, I’m not supposed to do that. I’m supposed to have RRSPs at the bank, because I have a family and a house, it’s pretty perilous. It’s a career change you don’t usually do at that age.” – Michel Rabagliati

Edit: Thanks to Torontoist.com for their little primer on Michel and their plug for the event this weekend!  

Closer to home, we sent out the official press release for the event and I’ve included behind the cut below.

See you at the event this weekend!

– Chris
Continue reading “All About Michel Rabagliati – In Toronto This Weekend”

On the responsibility of reviewers and critics.

This is a fanboy post, but I needed to get it off my chest:

Simon Jones on the Icarus Comics blog posted news last week that a manga-ka who passed away may have committed suicide after reading a harsh review of his work online. [Edit: Simon pops up in the comments to remind me and you that this is just a rumour, and an unverifiable one at that, and that this is just a sad state of affairs all around. I agree with him…]

It made me stop to think about the sorts of things I’ve posted and the reactions to them. I just realized that I didn’t name names in my last post regarding who the most awful perpetrators of terrible graphic novels are… I’m not worried about them offing themselves or anything, it’s just because it’s all very obvious. I mean, do you need me to point-and-scream, Invasion of the Body-Snatchers style, every time some lifeless “inspired by the hit film!” piece of tripe hits the stands of your local comic book store? The problem is not the individual books so much as the thinking… or rather thoughtlessness… behind them.

That said, I just read the new Amazing Spider-Man, #552, and it’s awful. That’s no surprise, I read about 20 comics this week and half of them were pretty bad, but this one is written by Bob Gale, who wrote Back to the Future. Why is that important? Other than the failure of the writer on this one, there’s the failure of the editor as well for hiring him… This is the same Bob Gale who wrote Daredevil #19-25 (current series). A story-arc so mediocre that they didn’t even bother to collect it in trade paperback, and considering Marvel was collecting nearly everything at that point, including every Daredevil story, that’s saying a lot. Maybe the creative abortion that was DC’s 52 inspired editor on both projects Steve Wacker to plug-and-pay his writers on the new Amazing Spider-Man like he did with the artists on 52 (and let’s not forget, that story was _so_well_written_ that it necessitated a four-issue mini-series to explain what happened between the 50th and 51st issues, AND a six-issue mini-series afterwards to explain what happened to the bad guys of the whole series), but it didn’t work Steve. This was bad superhero comics, and this is speaking as someone who’s enjoyed AND promoted the new series in store. What made you think this was a good idea? Was it the fact that Gale hasn’t written comics since 2001, the year of his Dardevil run that Marvel have never reprinted?

I thought this was your flagship book?

– Christopher

3300+ Graphic Novels? You better believe it…

One of the greatest joys of my job is not hauling each week’s shipment of new comics and graphic novels up to the second floor of the store to count, sort, and pull them. I’m the guy at the store that puts that order together every month, and no one knows better than me that 2007 saw a record number of new graphic novels hit the stands (hence why I don’t want to be lifting them…). Now though, there’s proof. According to ICv2.com, there were 3314 graphic novels released in 2007, a figure that’s up 19% over 2006’s 2785 books.

Almost all of them are awful.

Seriously, I don’t usually come right out and say this sort of thing (inference is a blogger’s best friend) but man there are a lot of downright horrible graphic novels released every year. By that I mean all of it, Superheroes, educational books, “art comix”, tie-in books, licensed books, shitty adaptations of shitty movies. Manga, especially manga, which despite being cherry-picked out off of a tree that includes some _truly_ wretched material, is often terrible thanks to its formulaic blandness. Even A Monkey Can Draw Manga was not funny, it was a warning.

Almost every manga in print, in English, is better than the awful, awful movie-pitches-masquerading-as-a-graphic-novel that make up more and more published books. Man, I LOVE comics, and I can think of no greater insult to the medium than for it to be a comfortable slum for movie and TV writers between projects; adaptations of works that have already failed out of Hollywood. I know that the “Hollywood Game” of generating material that might be optioned in Tinseltown is what pays for my open-bars at the San Diego Comic-Con every year, but… ugh. I am the Lorax and I speak for the trees: stop printing vehicles for Sheia Fucking Lebouf on my goddamned trees.

I’d take a hundred noble failures, poor, deluded creators who’ve poured their heart and soul into truly terrible works of crap, over one more transparent plea for a Hollywood producer’s attention.

Not that I want another hundred noble failures of course. I’m kind of getting sick of the noble failures too. And of the creators with more marketing plans than actual talent; no number of press releases in my inbox will teach you to draw or write. And licensing… fuck. You know, I know the Udon guys. They fucking LOVE Street Fighter. Love it. Eat, sleep, breathe, own all the games, the toys, all of it. They are fully invested in producing Street Fighter comics, and they want to make them as great as possible. If you as a publisher or licensor do not possess that level of dedication (and the talent to match), then why bother? Why are you wasting all of our time? Slapping together an extra 48 pages with a movie, cartoon, or toy line’s logo on it takes less creativity than being a mime. And you’re wasting the Lorax’s trees.

So yeah, most of the 3300 graphic novels released in 2007 sucked. Godwin’s Law Sturgeon’s Law is that 95% of everything is crap, and that’s about right in this case. Of course, the fact that there’s a “Godwin’s Law” “Sturgeon’s Law” at all should tell me that this is no surprise to any of you, but I just feel like someone had to come out and say it: There are a lot of awful, awful graphic novels coming out these days. Whoever’s guarding the gate, be it retailers, journalists, “journalists”, whatever, I beg you; be discerning in your praise, don’t pass along PR without having vetted the project yourself, stand behind your recommendations and, if you can’t, own up to your mistakes.

– Christopher
Edit: I confused Godwin and Sturgeon.