Are you kidding? Seriously?

Just received from Archie Comics in a press release:

“Ever since Archie’s first appearance in 1941, Archie Comics has prided itself with keeping up with the fads and fashions of the times.  That includes technology.  Photocopiers, fax machines, microwaves, video players, compact music players, the internet. you name it. Archie Comics has been there through every innovation, exploring each with hilarious humor as the classic cast of characters both utilize and wrestle with modern technology.  This March, several stories highlight the latest gadgets in goofy fashion, as only Archie Comics can!”

The part that they forgot to mention is that they are consistently 10 years behind in doing so. For example, I present the rest of the press release:

“ARCHIE #595: “Home Insecurity”: After robbers break into his safe, Mr. Lodge upgrades his security system to protect his property. but who will protect him from the ever-pervasive new system?!”

I hate to be all “Simpsons Did It”, but just in terms of “keeping up with the fads” The Simpsons did wacky-home-security-antics with Pierce Brosnan 2 years ago. Yikes.

Other issues that month will have (not joking) Archie addicted to text messaging, Betty & Veronica joining “The Geek Squad” (like Best Buy! Only not-litigious!), and Reggie having some sort of problem with camera phones. I hear Archie might even get Vista for Christmas… next year.

Watch out Ellis, Archie’s nipping at your body-modified, cybernetically-enhanced heels.

– Chris

Kagan McLeod’s History Of Rap: Big With Rappers

kagan_at_source.jpg

What do The RZA, Jay Z, Busta Rhymes, and ICE MUTHAFUCKIN T have in common? They’re all over Kagan McLeod’s completely, completely awesome HISTORY OF RAP poster, and Kagan’s been getting pics with all of them and the poster over at his Facebook page.

ice_t_history_of_rap.jpg

ICE T with Kagan McLeod’s History of Rap print. Photo by X-man from Disconnexions.com

rza.jpg

RZA with Kagan’s History of Rap. Photo by X-man from Disconnexions.

history_print.jpg

There are another 20+ pics over at Kagan’s site…

I know I’ve blogged about this print before, but? Local boy makes very good, you know? We’ve sold a ton of these at the store and a ton more through the website (they’re only 20 bucks), I’m super happy for Kagan getting to live the dream and meet all these incredibly talented artists.

– Chris
Top Photo of Kagan McLeod at the Source magazine offices, by X-Man of Disconnexions.com.

…not that book publishers are infallible, of course.

brazil-torture.jpg

Update: Simon and Schuster representatives wrote CR Monday evening claiming that the number of images used in the publication of this interview (eight, including cover) Sunday morning surpassed the number of images they allow anyone to use for free.” – Tom Spurgeon, Comics Reporter.

Brazil… When hearts were entertaining June, we stood beneath an amber moon and softly whispered ‘Someday soon’. We kissed and clung together then; tomorrow was another day. The morning found me miles away with still a million things to say. Now when twilight dims the skies above recalling thrills of our love there’s one thing I’m certain of: Return, I will, to old Brazil!

– Christopher

Publisher of Mouse Guard to be purchased.

mouseguard1.jpg

I don’t know why everyone keeps going on about this “Archaia Studios Press” being bought out… I had thought it was the publisher of Publisher of Mouse Guard being bought out… Or at the least, The Publisher of Mouse Guard and they’ve got some good French licenses as well. I mean sure, The Publisher of Mouse Guard is publishing other books, and they’re all produced by nice-enough folks and there’s a general level of quality to the line which speaks well of managing editor Mark Smylie. But The Publisher of Mouse Guard publishes Mouse Guard, which is a phenomenally successful indy publishing story, possibly the best-selling indy comic of the past few years. It’s sold tons and tons in hardcover, and the soft cover edition was published and distributed by an imprint of Random House, Villard Books, which is a pretty big deal. So why hasn’t anyone mentioned Mouse Guard in all of these proceedings, then?

mouseguard2.jpg

Let’s just throw some actual facts out there:

– ASP apparently had a great, great creator ownership contract. (Except for a strange non-compete clause).

Mouse Guard sold a fuck-tonne of books, which would mean ASP would either have paid or would owe Mouse Guard creator David Petersen a fuck-tonne of money, because again, that contract was pretty good.

– David Petersen hasn’t updated his blog since July 30th, wherein he won two Eisner Awards. I haven’t seen any public comment from him anywhere throughout this whole ordeal or since that time.

-  Despite books continuing to dribble out from ASP over the past few months, despite the restructuring, we haven’t seen a new issue of Mouse Guard, with the second series stalled at 3 issues (of a projected six) since February 26th, 2008.

– Mouse Guard is ASP’s best selling book.

– If they’re in a situation of financial uncertainty, and they are publishing books occasionally, why aren’t they publishing their best selling book?

– Everyone, everyone, wants that second Mouse Guard collection. Diamond Book Distributors devoted more of their Book Expo America booth to Mouse Guard as a property than any of the other publishers). You know Diamond wants it. I bet ASP wants that second book. Villard too, probably. Booksellers want it (I want it).

mouseguard3.jpg

So where is it? I can only imagine that whoever acquires ASP will want that book, that money, and the rights to make toys and cartoons based on the series too, and if I had to hazard a guess, that would be a big part of why we aren’t seeing it… Of course, that brings up the fact that no issues of the series have shipped since the end of February, and the “media rights” contract is a fairly recent development. Something else is going on.

I guess what I’m getting at here is that it’s fascinating that the crown jewel of the ASP line hasn’t been mentioned in any of these discussions; it’s the elephant in the room with an army of tiny adorable mice riding its back. If someone told me all 9 issues of Mouse Guard published to date sold more than every other comic book ASP has published combined, I wouldn’t even blink–I certainly know that’s true for us at the store, in our limited experience. I’d go so far as to say that the vast majority of the reason one would want ASP, and demand partial ownership of all of their properties, is solely to get a hold of Mouse Guard.

mouseguard4.jpg

So let’s move from statements of fact to a line of questiong:

– What if you were the guy that owned the most successful indy book in years?

– What if your publisher went from a “fair” or even “generous” contract, to one that met the “industry standard” in an industry where that standard wallows in a sewer, rights-wise, most of the time?

– Where you were now expected to give up all of your media rights without so much as a bidding war, despite the fact one is very-much called for?

– Would you sign that contract?

– What if that “Industry Standard Contract” was a lie, in an industry with Image, or First Second Books, or even Villard (with whom you’re already working)? Where not every publisher demands those rights from you? In fact, factoring mainstream book publishers, most pubs don’t make those requests of you.

– What if almost anyone in the industry would publish your book on your terms, just because it would make them so much money on the publishing alone?

– What if not signing the new ASP contract meant that you couldn’t put out your series again for a year, or more, because of a “non-compete” clause in your original contract?

– What if that derailed the intense momentum of your series? Made it so that you couldn’t meet the deadlines of your other contracts with Random House? Severly disrupted your cashflow, your work schedule?

– Would you sign it then?

– How would you feel being put in that position?

mouseguard5.jpg

It’s very easy to forget the human face behind words like “Strongarm Tactics” and “Industry Standard Contracts”. It’s easy to forget that PR spin is just that: spin. It’s easy to forget that just because someone describes something as “Industry Standard” doesn’t make it true… That just because one creator is willing to sign a bad contract (see: Platinum, Tokyopop, etc.) doesn’t mean that every creator is obligated to. That silence does not mean consent.

So how would I answer my own questions up there? Simply, I’d just go ahead and start publishing again, that second collection through Villard, and let Random House’s massive team of lawyers take all comers… If there were any contention at all of course. Sometimes legal posturing is just posturing. I think that would be the way to go, and it would minimize the interuption to my creativity, my cashflow, and my life. Because it’s coming up on February 26th again soon.

mouseguard6.jpg

But then I guess we won’t know until The Author of Mouse Guard speaks up. I can’t wait to hear what he has to say.

– Chris
All art from Mouse Guard: Fall 1152, by David Petersen. Theoretically Copyright 2008 David Petersen.

Things I Learned On Vacation: It’s not that hard to do the right thing.

paxrules.jpg

A few weeks ago I took a little vacation from my day job selling comics for The Beguiling, to head out to Seattle and sell some comics for my friends at Udon. They exhibited at the Penny Arcade Expo, or PAX, in Seattle, WA, a video-game convention hosted by the popular webcomic Penny Arcade. They’re really strict about who does or doesn’t get to exhibit at their show (though anyone can attend), and it’s the incredible devotion of the Udon guys to the Street Fighter videogames that got them through the door. I had a fun time, ate some great food, hung out with cool folks, and played a lot of Bomberman on my DS… I really gotta buy that at some point.

Anyway, the above notice was posted by the entrance ways to the exhibit hall, and a version of it appeared in the convention booklet that every attendee was given. Notice #5 there? It doesn’t take a genius to realize that getting a bunch of folks all in one place and getting them amped up, and maybe even a little turned on? There need to be some ground-rules laid out. The PAX guys throw an outstanding convention, really top-notch, and figuring out little things like this help a lot. Better still, security guards were both centralized and roaming, they received solid training, and there was never someone more than a yelp away. It was a safe, attentive, and solidly planned event. An event that ballooned from under 3,000 people 5 years ago to more than 50k this time out, with only the most minute of growing pains.

Why is this so hard for comics? Why all the hand-wringing and endless debate about nothing? It’s just like the bullshit about drinking or not drinking at the Hyatt during San Diego… endless chat and recrimination and “fun” suggestions and “concerned” suggestions and nerds marching to “a different drummer” but in the end? Just do the right thing. It’s not even hard. You’d think it was, but it’s not.

John DiBello is by all accounts a nice guy. I’ve never met him but people I like vouch for him, so that’s really all it takes–he’s a nice guy. He witnessed some pretty severe-sounding sexual harrassment at Comicon this year, tried to do something about it, and then realized that the biggest comics event in North America doesn’t have a policy on sexual harassment at their show… So he made some noise about it. Seems pretty open and shut, right? But… Angry nerds are still cluttering up comments sections with this stuff though, arguing against it, against him. But yeah, you can go to PAX and they (proudly, even) post right at the front door “Don’t be a dick guys, we’re all here to have fun.” and it’s not controversial, it’s not a problem that needs to be solved with zany solutions or protesting against organizations by giving them our money (I mean come on…). Some people just get it, and do the right thing. So, do it.

It’s funny, the first time I went to the Ad-Astra science fiction convention in Toronto, a small, fan-run and fan-oriented event north of the city, I kinda chuckled when I got to the part in their convention program about proper behaviour for attendees, and that included unwanted sexual advances… I mean, what kind of nerd needs to be told not to touch someones tits or that not everyone wants to hug you? But as soon as a friend I was hanging out at the show with expressed that same disbelief out loud, it clicked for me–this is a sexualized environment. Some people are going to be wearing little clothing, some people are being paid to be friendly (up to a point), some people are going to be demonstrative about their… affections. And that might give someone the wrong impression–that impression being “Holy shit she just made out with that guy I’ma gonna make out with her too!” There’s nothing wrong with setting ground rules.

It’s not like I don’t understand why certain comics folks get a little defensive about stuff like this… The idea is that having a sexual harassment policy means that you need a sexual harassment policy because comics people can’t be trusted to behave themselves. But guys (And It Is All Guys), that’s not the case. Every modern company of more than 4 or 5 people has a sexual harrassment policy, I’m pretty sure you need to have one by law in most places. Every con should have one just like every con should have rules regarding people taking pictures in the aisles, people with carts full of long boxes of books to be signed, and even when the doors open to let people in. That just ensures that a show happens that’s well organized, where everyone is on the same page, and if someone does behave badly there’s a clear statement saying “you shouldn’t have done that” and a very clear set of reprecussions for that person (“gtfo”).

So let’s take a cue from our kissing cousins over at PAX; there’s nothing wrong with telling people how to behave at your event, period. It not that hard to do the right thing.

– Christopher
P.S.: This is nice to read.

Good Books Are Good

Hey, I actually got a chance to check out some of Kramers Ergot 7 while I was in San Diego. It was already on my buy list, honestly, because I’ve got all the other ones and the creative line-up sounds amazing. But the stuff that I’ve read and glanced at is really is top-notch… It’s probably going to make things worse, not better, if this thing is really good right? Like, people will be more upset that they can’t afford it? I can’t tell if it being good will make people more or less angry about the price. Maybe if it’s bad they’ll be happier, because that’ll justify their insane hating? Or passive-aggressive non-opinions?
Actually, haha, actually the whole argument reminds me of an Achewood comic where roast beef gets a new shirt. He gets this shirt from a girl who likes him and he tries it on and feels pretty good. Then:

achewood-shirt-1.jpg

Except it’s not just in his head, those are real people doing that. For tonight’s performance, the roles of the angry cartoon animals that exist inside the depressed cat’s imagination will be played by people in the comics industry. It’s kind of amazing and awful at the same time? Like, people gathered down to shout-down a project that they personally feel is too ostentatious? Can you imagine if this happened in other media? Like people protesting The Batman movie because Christopher Nolan didn’t remake the Adam West one? Haha… So sad/awful/amazing.

achewood-shirt-2.jpg

Keep hope alive, guys.

– Chris

Japan

sa400490.jpg

I never really wrapped up my Japan trip from last year. I think it’s because my trip ran from September 3rd to September 17th 2007, and I made my last photo-intensive post about Japan on February 28th, in the absolute worst and greyest part of the winter. I had been talking about my trip for more than 5 months, and so i decided that maybe I was done for a little while.

It turns out that I am not done?

I feel like I’ve missed being in Japan more or less every day I’ve been back in Canada, in some small way or another. Quite honestly, my financial situation is such that I’ll not be traveling back that way any time soon, and that helps a little bit, knowing that it’s far away by more than one metric. It feels far away in my mind, I think because I took so much of my experience and compartmentalized it for the blog here, it now has a life of its own and has been enjoyed by more people than just me–and seriously, thanks to everyone for the comments and kind words on the photos and the journal, I’m tremendously proud of these posts and many of the photos.

Between talking to people at the Comic Con a few weeks back in San Diego, various friends that have come and gone to visit Japan since my trip, and the fact that I get a constant stream of Japanese news and info through my feed reader, little things have kept cropping up in my head, things that I never blogged about, things that I forgot until reminded of them. So maybe if I do another post about the things I miss, and love, I can get over some more of these memories, or at least be able to share them in a better way.

Things I Miss About Japan

dscf2008.jpg

1. Convenience stores that are actually convenient. 24 hours, stocking all kinds of stuff you never even knew you needed at 4am but are happy to have access to, like fresh meals and cheap healthy dinners. The only places that have ever come close are the deli/bodegas in Manhattan, and they’ve just gotta keep better hours… and sell alcohol after 2am.

2. Vending Machines are everywhere. I joke that there are vending machines every 15 metres in urban Tokyo, but that’s probably a figure that’s on the low side in most neighborhoods. Tucked into every available space there are machines serving cold and hot drinks of every conceivable stripe, not to mention booze, snacks, and even fried rice and dumplings, all for a buck or two. I’ve never been so hydrated or had so little annoying pocket change as when I was in Japan.

3. What if the Transit actually worked? In Japan, it does! In two weeks of constant, constant public transportation use, we only ever encountered one late train. Seriously, everything else arrived exactly on time, to the minute, and we know that because there were signs everywhere saying when the next train would be. It had better and more frequent signage than the subways in Toronto, and in English to boot. It was a completely integrated transit system–payment was made with one loadable card that you didn’t even have to swipe, you just sort of waved near the turnstile. If you so desired, you could even just use your cell phone as your transit pass, wave IT over the turnstile, and have your transit fees appended to your cell phone bill. It… it just works. It’s clean and well laid-out and bright and on time and it goes everywhere and it works.

4. A feeling of personal safety. I’m a big guy, I live in a good neighborhood, and Toronto is a pretty safe city, all-told. But walking through the streets of Tokyo, Osaka, Himeji, Kyoto, in the middle of the evening, and not having to look over your shoulder? It’s not something you’ll really understand until you get to experience it for yourself. That’s not to say that there isn’t danger in Tokyo, I’m not an idiot, but I dropped my credit card while walking through a mall and someone actually ran up and gave it back to me. Let’s just say that sort of honesty rarely makes an appearance in my day to day life here in Toronto. Hell, not even close.

5. The height and the density. I was talking to my friend Nadine, and the density (and the noise) really, really put her off big-city Japan… she found it to be too much, but ever since I’ve been back I’ve been walking down streets wishing that everything was between 3 and 8 stories tall and jam-packed with amazing little boutique stores and new places to discover. I like that the big cities use their space intelligently, and vertically, and that there’s far, far less suburban sprawl. I like that the space between where you are and where you’re going is almost always filled with something interesting, or pretty.

6. You have to go to an onsen. One of the big things I wanted to do on my trip to Japan was sit in an onsen (a public bath), with a pool set into the side of a mountain and stare out at the sea and contemplate life. I did not get to do that, sadly, but I did get to sit in an outdoor pool outside on a manmade island in the middle of Tokyo Bay and look at the stars, contemplating life, and that was pretty excellent too. I have to admit to being pretty bashful about being big and white and red-haired and parading around naked in a traditional Japanese bath, but about 5 minutes in the baths and that melted away… literally melted as the water was like 40degrees centigrade (104f). It is a whole cultural excursion based entirely around relaxing as much as you possibly can, and it’ll run you between 10 and 20 dollars for 24 hours (you can sleep over, making it about as cheap as staying in a hostel). If I ever have to do Tokyo on the cheap, I’m going to eschew hotels entirely and just take a tour of various onsen.

7. It’s just different. I’m happy and comfortable and my husband is awesome. Things are pretty good. But dropping yourself down into someone else’s culture and then trying to adjust? Completely changing your day to day, your cultural touch points, your diet, your sleep, and trying to make yourself understood to people that are somewhere between vaguely afraid and outright terrified that you might engage them in an English language conversation? It’s awesome. I miss things being different, I miss feeling like I’m adjusting and then coming across something I can’t even begin to explain. I miss that most of all, probably.

Andrew just summed it up: Being in that situation really highlights the mundane. Because Japan is so weird anyway, things that are normally mundane aren’t. Like… toilets, for example. Just every day things like “which is the West exit, exactly”? Everything you do is an achievement. Throughout the short time we were there, we got better at being there, and that was really interesting.

dscf3700.jpg

So, yeah. I miss Japan. I miss all the things I got to do and all the things I didn’t get to (can you believe I never got to go for Karaoke? Seriously?). I hope to go back as soon as I can, for longer, but it’s a long way off. Thanks for reading, and sorry for the lack of comics content. I’ll get back to it sooner or later…

– Chris

Flipping, Splicing, and Mutilating Manga

570-redcolored-excerpt.jpg

280redcoloredelegy.jpgI haven’t linked to Adam Stephanides site Completely Futile for a while, but his recent post on D+Q’s manga initiative made me think, so I wanted to respond. Here, I’ll let Adam explain his problems with D+Q’s manga releases in his own words:

Drawn & Quarterly’s edition of Red Colored Elegy, a Japanese-language edition of which I reviewed here, is finally out. (Note that the D&Q book contains only the title story from the edition I reviewed, not the shorter stories that were also collected there.) Unfortunately, I can’t greet this occaion with unalloyed joy, because Drawn & Quarterly did the same thing that they did with their Yoshihiro Tatsumi collections: rearranging the panels on each page so that the page (and the book) reads left-to-right, but not flipping the original panels.* Why do they do this? If they aren’t going to publish it unflipped, which they should, I’d much prefer that they just flipped everything. That way the relationships between the panels, and the overall design of each double-page spread, would be preserved. I really don’t understand. Drawn & Quarterly is clearly publishing this as a labor of love, so why do they deliberately mutilate it? – Adam Stephanides, Completely Futile blog

I really enjoyed reading Red Colored Elegy in the D+Q edition, and if you enjoy a work that challenges you as a reader I’d recommended it. That said, I am bothered by the ideology of the D+Q release, of selectively flipping panels or cut-and-pasting pages. I even advocated against such back in the day, back when I heard the first Tatsumi Yoshihiro book The Push Man and other stories was on its way. But despite my problems with this method of formatting manga for North American release, as onerious as this production method is, a) it has the approval of the actual author of the work, and b) every other method for translating manga into English is potentially worse.

I don’t like flipped manga because mirror-imaging original art tends to reveal imperfections in drawing, that’s just the way it goes. It also makes manga-ka practically die of embarassment, seeing work with all of its flaws revealed to the world. I also think that, should someone like D+Q release a manga unflipped, the commercial possibilities of the work are practically halved. Any time a prominent blogger talks about a new manga release, Ed Brubaker (love ya Ed!) pops up in the comments to mention that he can’t read unflipped [backwards] manga. Just can’t read it. And he’s not alone… it’s one of the things that makes unflipped manga so attractive to younger readers by the way… it’s like visual pig-latin. So yeah, I mean, we get the Tatsumi books rearranged (“translated”) for Western audiences and the sales are great because the older, not-necessarily-manga-reading crowd that the books are aimed at can actually read them, and most importantly the original creator of the work is happy with it. Or, at the worst, he is at least happy enough (though having met Mr. Tatsumi, I can in fact confirm he is extremely proud of the D+Q editions of his work).

So, yeah, Adam, I really empathize with you on this one, because I’d love to read the work in a format as close to the original as possible. But I can’t, because I don’t read Japanese, and I’d rather the books come out and find a measure of success to ensure that more come down the pipe as well. And it’s not like D+Q doesn’t do a good job–they just don’t do the job we’d like them to do… a crucial difference.

On that note, Tom Devlin dropped in on Completely Futile to explain D+Q’s position:

Officially, we do this to reach as wide an audience as possible. We don’t view these books as specialty fiction but as stories that everyone should read. We realize that many people will view this as “mutilation” but we always run the English version past the artist before publication. In fact, Tatsumi actually rearranges the panels himself. I personally think of this approach to editing as somewhat similar to putting subtitles on a foreign film–it clearly alters the experience but it’s often the only way for many of us to experience the storytelling art of different cultures. – Tom Devlin, D+Q, on the Completely Futile blog

I think it’s just a matter of fingers crossed, waiting for the industry to change at this point. But it’ll be… shit, 10 years minimum before the readership base comfortable with reading unflipped manga is large enough to support niche or artcomix releases. Keep hope alive, Adam!

– Christopher

Staying at the Hyatt in for Comic Con? Guess where your money is going.

http://www.nbcsandiego.com/politics/16846195/detail.html

A $125,000 donation in support of an anti-gay marriage initiative by a San Diego hotelier has drawn the ire of gay and lesbian activists and local labor unions who are now calling for a boycott.

Organizers held a news conference in front of the Manchester Grand Hyatt, near Seaport Village, on Thursday. A coalition of LGBT community leaders and the labor movement spoke out against Doug Manchester, who contributed a donation in support of Proposition 8, which would allow only men and women to marry in the state of California. The group opposes the ballot measure because it threatens the recent state Supreme Court decision that allows marriage between men and women.

I know it’s unlikely that anyone is canceling a hotel reservation for Comic Con at this late date, but if you wanted to take the time to tell the owner what an asshole he is on those handy comment cards they provide you, or perhaps in other more creative ways, well, I would support your decision.

For my part, the Hyatt can go fuck itself. I’ll be drinking elsewhere. I’d invite you to do the same.
– Christopher, via [JoeMyGod]